Cover photo: Courtesy of the artist and Fountainhead Arts
“It is not hard to become an artist, but extremely hard to stay as an artist.”
An Artist Shaped by Two Worlds
Yongqi Tang, a painter and art educator based in Seattle, finds her work profoundly influenced by her journey across continents. Born and raised in China, she relocated to the United States for higher education, earning both her Bachelor’s and Master’s degrees at the University of Washington. Now in her ninth year in America, Tang grapples with the concept of “in-betweenness,” a theme that underpins much of her art. Her creations transcend personal experiences, seeking to evoke universal emotions that foster connections between her and her audience. This duality, living and creating between two cultures, fuels her artistic exploration and enriches her narrative.
From an early age, Tang’s fascination with drawing set the foundation for her artistic career. Art was not a choice but a natural path for her, as she found herself uninterested in anything else. Her career began auspiciously when she was recruited by galleries immediately after finishing her studies. Currently, she balances her time between her studio and teaching roles, the latter providing her with both financial independence and creative freedom. However, she acknowledges the challenges of sustaining a career in art, emphasizing the difficulty of remaining an artist rather than simply becoming one.
Tang’s style reflects her refusal to conform to strict categories. Instead, she embraces the intuitive habits and instincts that guide her artistic practice. Through themes of human form, spirituality, and diaspora, she navigates deeply personal yet universally resonant ideas, creating works that invite reflection and dialogue.
Yongqi Tang: A Workspace of Controlled Chaos
Tang’s workspace is a direct extension of her artistic process. While her living space is kept pristine and orderly, her studio thrives in a state of disarray. She describes it as chaotic and dirty, a setting she finds essential for fostering creativity. This environment allows her ideas to flow, her hands and body reacting instinctively to the act of creation. Tang views this physical and tangible engagement as a defining characteristic of her practice, setting painting apart from mere image-making.
When it comes to focus, Tang possesses a remarkable ability to immerse herself in her work. Distractions hold little sway over her, as her passion for painting overrides external influences. This unwavering dedication underscores her deep connection to her craft, allowing her to approach her art with singular purpose.
Her artistic influences are as diverse as her themes. Tang draws inspiration from a spectrum of figurative painters, spanning centuries and styles. Artists like Botticelli, Caravaggio, Cecily Brown, and Jennifer Packer, among others, inform her approach to figures and composition. She sees each artist as offering unique strengths, blending their nuances into her own interpretations. This eclectic blend of influences shapes her ongoing exploration of the figure and its many dimensions.
Intertwining Personal and Mythological Narratives
Tang’s work frequently merges her personal experiences with classical mythology, creating layered narratives that resonate on multiple levels. One of her most significant pieces, central to her solo exhibition at Latitude Gallery NY, is a self-portrait inspired by her experience with scoliosis surgery. The painting depicts her with an open back, stitched by surgeon’s hands, a poignant reflection on bodily transformation and vulnerability. She intertwines this personal narrative with the mythological story of the birth of Venus, presenting herself not as an idealized figure of beauty but as a wounded, exposed individual.
This approach underscores Tang’s broader artistic philosophy: combining intimate narratives with archetypal themes to challenge and expand their interpretations. She believes that every image, regardless of its origin, carries echoes of memory and meaning that transcend time. Her paintings reinterpret classical motifs, layering them with contemporary perspectives to evoke new emotional and intellectual responses.
Tang’s choice of medium further aligns with her storytelling goals. Her preference for two-dimensional forms such as painting and drawing stems from a lifelong fascination with their narrative potential. Whether influenced by anime, photography, or mythology, her work reflects a dedication to storytelling through evocative visual language. For Tang, painting serves as a timeless vessel for exploring the interplay between past, present, and future.
Yongqi Tang: Pushing Boundaries with Future Projects
As she looks ahead, Tang envisions ambitious projects that expand her artistic practice. Her next solo exhibition, scheduled for 2025 with MOU Projects in Hong Kong, promises to be a groundbreaking endeavor. In addition to traditional paintings and drawings, she plans to experiment with screen paintings, a medium steeped in Chinese history. These screens, which historically served both functional and symbolic roles, offer unique possibilities for exploring space and interaction. Tang sees them as a medium that merges tradition with contemporary relevance, drawing parallels between their historical use and modern-day virtual backdrops.
Tang is also eager to revisit her “Open Venus” series, delving deeper into its themes and expanding its scope. By placing this concept in larger spaces, she aims to further explore the intersection of personal vulnerability and mythological resonance. Each solo exhibition, she notes, serves as an opportunity to challenge her creative boundaries, and she is committed to continuing this trajectory in her future work.
Through her innovative projects, Tang continues to push the limits of her practice, reaffirming her place as an artist who masterfully blends personal and universal narratives. Whether through traditional paintings, experimental formats, or evolving themes, she remains steadfast in her quest to create art that transcends and transforms.
