Created by Katherine Leung, Grace Vo, Misha Patel, Sam Riedman, Jaden Chee, Baotran Truong, and many contributors! Cover by Jasmine Lee. The Asian American Arts Zine is a zine created by Asians In The Arts, celebrating stories surrounding Asian diasporic representation.
THE
ASIAN
AMERICAN
ARTS
ZINE
March 2021
P A G E 1
C O V E R A R T
A A P I F O R C E
Jasmine Lee is a community artist local to Boston, MA. Her political
activism has expanded through her work in different Asian American
organizations at the local and national level such as Project ADAPT,
Boston Chinatown Neighborhood Center, Asian Pacific American Labor
Alliance and Asian American Women’s Political Initiative. She is
passionate about combatting Asian American women’s issues, domestic
violence, health inequities and racism through visual arts, public health,
positive youth development and community organizing.
J A S M I N E L E E
P A G E 2
Her art is a space to combat issues with her community. As the Art
Director of R Visions for Chinatown and lead artist, she has worked
with community members, local artists, nonprofit organizations,
institutions and the Boston Art Commission to raise awareness and
organized collective actions around the affordable housing crisis in
Boston Chinatown. As one of the few Asian American women artists
featured in the nation's first gallery for Artists Against Police Brutality,
her "Asians4BlackLives" piece raises questions about where Asian
America stands in the conversations about race and Black Lives.
Through her own artwork, she continues to draw inspiration from her
experiences, communities of color, conversations and representations
involving Asian American women issues, racism and health inequities.
A A P I F O R C E - E F G O T V
J a s m i n e L e e
@ j u s t f l y p r o j e c t
P A G E 3
F R O M T H E E D I T O R
F R O M T H E
E D I T O R
B y K a t h e r i n e L e u n g
E d i t o r - I n - C h i e f
The last seven months spent getting to
know Baotran, Sam, Jaden, Misha, and
Grace have been an incredible experience.
We started out as strangers and now we’ve
put together three volumes of the Asian
American Arts Zine and supported over two
hundred artists from all around the world
in that time. The zine has always been free
for artists to submit and get published. The
zine has always uplifted the voices of artists
and writers who are marginalized from the
dominant culture. These principles have
rooted us as both our zine and social media
presence grew!
Along with staff editor Baotran Truong,
who has done a lot of work editing page
spreads and putting final touches on the
last three issues of the zine, I have stepped
down from Editor-in-Chief of the Asian
American Arts Zine.
It is bittersweet to say goodbye but the
staff is in good hands. Sam Riedman will be
taking over as Editor-in-Chief and I know
she will do an amazing job. Sam’s
background is in organic farming and
writing. Her nature-based found art
collages in this volume are a delight. Her
eye for design and passion for all things
natural and sustainable will be a great
direction for the zine. We could all do with
a little plant medicine. She will make a
great leader because she is varied in
experience and genuinely intuitive. Her
past interviews for the Asian American Arts
Zine have shown just how Sammie listens in
an authentic way, which I know will serve
her well as the next Editor-in-Chief!
K A T H E R I N E L E U N G
P A G E 4
In this issue, here are some highlights:
Interview with Koy Suntichotiun, the
unofficial inventor of the emoji collage,
an artist I was absolutely starstruck to
get to interview
Misha’s story about her father, a fine
artist, turning the stereotype of “Asian
parent” on its head!
Jasmine Li’s wonderful cover image and
activism-based works
The entire food section was edited by
Grace - and Cole Chang, Jamie Mah,
Ethel Martinez, Brianna Mitjans’ works
are all wonderful! Food in the Asian
community plays such a nostalgic and
powerful role.
I hope you enjoy Volume IV. I can’t wait to
see what Sammie cooks up for Volume V.
Katherine
P.S. I won’t be gone from self and indie
publishing and I will certainly see you at
zine fests. You can keep up with my other
zines Canto Cutie (cantocutie.com) and
Dead Dads Club (deaddads.club).
Sam Riedman will be
taking over as Editor-in-
Chief and I know she will
do an amazing job.
T A B L E O F C O N T E N T S
P A G E 6
C U L T U R E ,
T R A D I T I O N , A N D
N E W Y E A R S 5 7
5 9
F o o d i m a g e s
J a m i e M a h
6 1
G o o d L u c k 福
A n n i k a C h e n g
6 3
C h i l d h o o d D r e a m s o f C h i n e s e N e w Y e a r
W e n c h i n g i n W o n d e r l a n d
S P I R I T U A L I T Y 9 9
1 0 1
C o l l e g e w i t h f o u n d
m a t e r i a l s
S a m R i e d m a n
1 0 2
H e r b a l M e d i c i n e i s a l l
w e h a v e
K a t h e r i n e L e u n g
1 0 3
C o l l e g e w i t h f o u n d
m a t e r i a l s
S a m R i e d m a n
1 0 9
S i n g k i l
E t h e l M a r t i n e z
1 1 1
I n t e r v i e w
A S p i r i t u a l C o n n e c t i o n t h r o u g h
C o l o r : I n t e r v i e w w i t h H i n d u
A r t i s t V i j a y a l a x m i
K a t h e r i n e L e u n g
1 2 3
F o u r S e a s o n s
K a n a T a k a g i
1 2 5
G u a n Y i n
E v e T o n g o n o n
1 2 7
G u a n Y i n M e d i t a t i o n
K a t h e r i n e L e u n g
A C T I V I S M 6 7
6 9
I A M A M E R I C A N
T O O
J a s m i n e L e e
7 0
T h e C o m m u n i t y o f
C h i n a t o w n
J a s m i n e L e e
7 1
C h i n a t o w n
B r i a n n a M i t j a n s
7 3
I n t e r v i e w
C o m m u n i t y D r i v e n
A r t : I n t e r v i e w w i t h
K o y S u n t i c h o t i n u n
K a t h e r i n e L e u n g
9 3
S o c i a l J u s t i c e
R e a d i n g G u i d e
S a m R i e d m a n
9 5
F l o w e r B o y
L a u r a J e w
9 6
U n t i t l e d
L a u r a J e w
9 7
S a f e
L a u r a J e w
9 8
U n t i t l e d
L a u r a J e w
P A G E 7
F A M I L Y A N D I D E N T I T Y
F A M I L Y A N D
I D E N T I T Y
F A M I L Y A N D I D E N T I T Y
P A G E 8
P A G E 9
F A M I L Y A N D I D E N T I T Y
D E S S A E L Y
P A G E 1 0
"Being mixed is the
experience of not feeling
like you belong, which is
a very isolating and
lonely feeling."
D e s s a E l y
@ d e s s a . e l y
P A G E 1 1
F A M I L Y A N D I D E N T I T Y
This series is about my experience being mixed asian. I’ve always found myself feeling
disconnected to my Chinese side, but also not feeling fully white. Being mixed is the
experience of not feeling like you belong, which is a very isolating and lonely feeling.
This work is a series made up of emulsion lifts of different mixed asian people layered
on top of their grandparents. My grandparents are people I’ve always felt distant from,
and my distance from them represents the distance I feel from Chinese culture. My
process uses emulsion lifts, which involves taking a polaroid image, cutting it up and
soaking it in water. The emulsion, the part that contains the actual image, floats off of
the polaroid and then will stick to whatever surface you put it on. The emulsion is
vulnerable, and will cling to whatever surface it first touches. This is a parallel to the
experience of being a person of colour in today’s world. You are isolated from your
culture and forced to cling to whatever is closest. This makes us distant from our
culture and our families, especially among the children who were born here. Through
creating this series, I documented various mixed asian people, and through my
documentation, I had conversations, we shared stories, and I was able to create a sense
of community between us all. Now I feel less alone and less isolated and I was able to
create a culture of my own.
B y D e s s a E l y
@ d e s s a . e l y
D E S S A E L Y
P A G E 1 2
P A G E 1 3
F A M I L Y A N D I D E N T I T Y
D I A S P O R A O F
E M O T I O N S
B y T a s h i D o l m a
@ k h u r t s a n g _ t
T A S H I D O L M A
P A G E 1 4
P A G E 1 5
F A M I L Y A N D I D E N T I T Y
D i a s p o r a o f E m o t i o n s
T a s h i D o l m a
@ k h u r t s a n g _ t
"My art
represents
subdued emotions
that seem to rise
and speak
vibrantly through
my paintings."
T A S H I D O L M A
P A G E 1 6
P A G E 1 7
F A M I L Y A N D I D E N T I T Y
A S I A N
P A R E N T S
B y M i s h a P a t e l
If you were to be a guest in my home, take
a tour of each corner, each room, each wall,
my dad’s art would be there. Since I was
little, my dad has been an artist. What
started as a small hobby, has now become a
craft each of my friends knows about, and
each of his friends knows about. Now, each
wall in my home seems to be adorned by
his work, all except for his own bedroom.
He started painting with oil but has since
branched out into acrylic, laying colors so
skillfully onto a canvas but still remains
humble regarding his talent and never
brags about his ability. I never seemed to
understand the importance of my dad
being an artist until quite recently.
Contrary to the art thrown across the
pages of Asians in the Arts, my dad’s work
isn’t inherently “Asian.” Here, however, is
where I find meaning in his work.
M I S H A P A T E L
P A G E 1 8
My parents, though Asian, have never been
the stereotype, and it isn’t often that you
find the older generations of Asian parents
partaking in art, simply to create and delve
deeper into their hobby. But my home isn’t
that. Both my brother and myself have
never been forced to be exemplary Asians
so many kids are still forced to be, but
instead, individuals with passions and
hobbies. To put it simply, my dad’s art
doesn’t need to be Asian, because while
that connection to culture and family is
important, it isn’t the only thing he is.
Amongst Asian families, there is this notion
that art is a hobby, and never something
you actually carry into adulthood, but my
parents couldn’t be further from the
opposite. Since I was little, art has been
encouraged, and true creativity has been
the goal. This has made me the person I am
and creates the meaning that I can see
within my dad’s art. My dad has proven that
you can be an Asian artist, even if your art
isn’t “Asian.” Even if art doesn’t have much
meaning, I see so much more within each
painting he creates – it is a symbol of the
parenting my parents raised me with, and
the parenting I am so grateful for each day.
P A G E 1 9
F A M I L Y A N D I D E N T I T Y
B y D h a r m e s h P a t e l
@ d s p _ a r t 7 8
D H A R M E S H P A T E L
P A G E 2 0
P A G E 2 1
F A M I L Y A N D I D E N T I T Y
D E A R M O M
In August 2020, I created this work
B y P a m o n o l o g u e s
@ P a m o n o l o g u e s
explores my racial and ethnic identity in
America and my relationship with my
mother. This work reflects upon how I saw
myself in the past. I let a White person tell
my story which really isn't my story any
way. I am white washed at some points and
I have this need to connect and talk with
my mother, but it can be difficult and tiring.
Next is the letter I wrote along with the
blindfolded Mulan Barbie doll in the white
washed box.
————
Dear mom,
I don’t hate you. I just disagree with you. I
am trying to build a bridge to you, but
every time I try to do so, you burn it. How
can I get to you on the other side?P.S.
Maybe we don’t need a bridge to disrupt
the canvas called Sky. Maybe we just need
to travel to each other and meet halfway.
Will we understand each other by then?
P A M O N O L O G U E S
P A G E 2 2
P A G E 2 3
F A M I L Y A N D I D E N T I T Y
Below are the thoughts I had along with the time I created this artwork: I’ve lost count
on how may days I cried after an argument, stemming from a conversation about
racism. About noticing our implicit and explicit biases. About the history we don’t
know. Her questions made me realize I only knew half of the story. I had to go back,
reflect and educate myself. I needed to look at myself, too. My mind flashes back to an
old memory, practicing in front of the mirror to look like Mulan. The image of her on
the cover of the cassette tape case was implanted in my head. I told my mom I was
Mulan and I slanted my eyes in front of my mom. She quickly told me not to do that. I
was confused…at how I look. A deja vu moment. I believed the birth story my third
grade classmates fabricated for me. My mom had to correct me again when she read
my timeline project.
————
One morning my mom woke up from a nightmare and expressed feelings of frustration,
confusion, guilt and shame to my dad. She didn’t understand why I pointed out her
racist remark the evening before. I told myself not to cave into her feelings. I learned
not to surf along the waves of her emotions. After all, they come and go. I learned to cut
the invisible umbilical cord that still connected me to her. Beyoncé’s words ring in my
head, “Let this moment push you in all areas of your life.”
————
Last week, I explained to her about my racial/ethnic identity and she opens up and
asks more questions. The discussion leads to the history of the Native Americans and
about how we stand on, specifically, the land of the Matinecock tribe. American history
doesn’t start with the thirteen colonies. I try to convey to her that a country is just an
idea, a concept. I’m learning. I’m expressing. I tell myself that I am not having trouble
expressing myself in Cantonese. I’m finally stating my true thoughts and feelings in
Cantonese. I’m learning.
P A M O N O L O G U E S
P A G E 2 4
S H A P I N G U P
B y P a m o n o l o g u e s
@ P a m o n o l o g u e s
In August 2020, I created this work explores my racial and
ethnic identity in America and my relationship with my
mother. This work reflects upon how I saw myself in the past. I
let a White person tell my story which really isn't my story any
way. I am white washed at some points and I have this need to
connect and talk with my mother, but it can be difficult and
tiring. Next is the letter I wrote along with the blindfolded
Mulan Barbie doll in the white washed box.
————
Dear mom,
I don’t hate you. I just disagree with you. I am trying to build a
bridge to you, but every time I try to do so, you burn it. How
can I get to you on the other side?P.S. Maybe we don’t need a
bridge to disrupt the canvas called Sky. Maybe we just need to
travel to each other and meet halfway. Will we understand
each other by then?
P A G E 2 5
F A M I L Y A N D I D E N T I T Y
P A M O N O L O G U E S
P A G E 2 6
S h a p i n g U p
P a m o n o l o g u e s
@ P a m o n o l o g u e s
P A G E 2 7
F O O D
F O O D
F O O D
P A G E 2 8
P A G E 2 9
F O O D
E T H E L M A R T I N E Z
P A G E 3 0
H A L O H A L O
S I S T E R S
B y E t h e l M a r t i n e z
@ a t e . e t h e l s . f o n d . m e m o r i e s
w w w . a t e e s f o n d m e m o r i e s
"The Halo Halo, which is one of the most popular desserts from
the Philippines is probably its most colorful food, as well. I
wanted to play into that. Each lady represents most of the flavors
in this dessert: Ube, mango/langka, Milk, and sweet red beans. I
wanted to have them dancing and circling on shaved ice to
represent the “mix”, or the "halo", of all those ingredients."
P A G E 3 1
F O O D
S I B E R I A N
P E L M E N I
B y K a t h e r i n e L e u n g
I created these Siberian dumplings out of
whole wheat flour from a recipe by Darra
Goldstein from Beyond the North Wind.
Many Asian cultures have their own
methods of making dumplings and many
are embedded in family and holiday
celebration practices. Buryat and Tuvans
make buuzi, steam dumplings filled with
meat during Lunar New Year. Many Turkic
peoples such as Central Asians, Afganis,
Uyghurs, and Bukharian Jews make manti,
often stuffed with lamb. My family loves
dim sum dumplings like har gow and
shumai. When we get together, we always
make sure we get one dim sum meal in,
whatever city we are in.
K A T H E R I N E L E U N G
P A G E 3 2
I remember family vacations as a child with
my family, stuffed in a car for hours, to find
wonton noodles in San Francisco
Chinatown streets. Now that I'm older, I'm
deciding which cuisines and traditions to
bring into my family. I love eating Siberian
pelmeni because typically, it is eaten with
sour creme and dill - what's not to love?
This familiar food was always there for me
when I studied abroad and lived in Russia
from 2011 to 2015. Some may argue the best
dumplings are made from scratch, but
Siberian pelmeni is made to be frozen. Not
only that, it's meant to be kept outdoors,
such as outside a kitchen window in the
snow! Regardless of your background, you
can't deny that eating dough-wrapped
steam foods have an interesting history and
profound impact on Asian cuisine. It even
unites us, in a way. Wherever you are in the
diaspora, you have a home in dumplings.
C O L E C H A N G
P A G E 3 4
"Much of my poetry and visual
work contemplate my
relationships with my father and
family in terms of our cultural
heritage and identity. I explore
what traditions or objects have
survived assimilation, and what
things have been lost. Through my
poetry, I attempt to reconnect and
heal with my father and his scars."
P A G E 3 5
F O O D
"This Painting ["City Snacks"] is part of my "Love Letter Los Angeles" series and pairs
with my other painting "Grandpa". I wanted to share part of my childhood. One of my
favorite activities as a kid was going to the Filipinx grocery store with my
grandparents. And once I learned how to drive my grandparents asked me to drive
them to Seafood city weekly until they passed."
C i t y S n a c k s
B r i a n n a M i t j a n s
@ b r i a n n a m i t j a n s
B R I A N N A M I T J A N S
P A G E 3 6
B y B r i a n n a M i t j a n s
@ b r i a n n a m i t j a n s
G R A N D P A
P A G E 3 7
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
ENTERTAINMENT
AND
REPRESENTATION
F A M I L Y A N D I D E N T I T Y
P A G E 3 8
P A G E 3 9
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
D E M Y S T I F Y I N G
M U S I C W I T H
N I K O M H A L L
B y S a m R i e d m a n
Nikom is the assistant general manager (GM) at Virgin Music (previously Caroline
Records), which is “an artist-development focused, full label services and distribution
company, providing commercial, radio promotion, marketing, synch, branding,
licensing and digital marketing services.” Virgin Music is one of the largest independent
record labels and distribution companies in the world, representing over sixty labels.
Their catalog is varied, “from ATO who have Black Pumas and Alabama Shakes to
Mexican Summer who are psych rock... 10k Projects who are like SoundCloud Rap, like
Trippy Red, ...Motown and Quality Control which is like Migos and Lil Baby, ...Astral
Works and a lot of electronic labels.”
At Virgin, Nikom is the follow-through guy, ensuring that projects stay on track. For
example, he handles reissues and compiles labels that can perform the reissuing.” His
responsibilities span company-wide from organizing showcases, to ensuring
merchandise orders are fulfilled, which allow him to learn how the company as a whole
operates; “The bright side is that I get to learn so much about everything we do.
Downside of it is that I don’t get the depth of knowledge to specialize in one particular
aspect of the industry.”
N I K O M H A L L
P A G E 4 0
exhausting.” Because he worked in an
environment saturated with whiteness, out
of necessity “all the PoC’s there banded
together a bit. In the LA office, there was
one Asian American guy who took me
under his wing; he reached out for me to
come chat with him.” Working in such a
white, male-dominated space reinforced
the importance of diversity and solidarity
within a company.
Prior to working at Virgin, Nikom honed his
chops in the music department of one of
the largest talent agencies in the world.
“Working there felt like a big investment
bank on Wall St. but in the entertainment
world. All the agents there thought they
were the shit, and made a ton of money,
and screamed at their assistants. It was
super cut-throat. It was a lot of white
dudes helping out white dudes.” Nikom
stayed with the company for four years,
where he felt like he was “constantly
bombarded with white dudes. That energy
compounded and was mentally exhausting."
The draining nature of being a part of an
ethnic minority in a white majority space
made his transition to his current position
at Virgin a breath of fresh air. “Then I come
over to a record label, and it’s like night and
day. There are so many more women, there
are so many more PoC’s, and we are
representing other labels like Motown,
which is an almost entirely Black company.
It was just amazing to see. The reason is
that these people aren’t here to be all cutthroat,
and they’re not there for the money.
They’re there because they are involved in
the culture of the music.” Noting that “the
staffing at record labels and management
companies tend to be from where artists
are coming from. It’s much more in tune
with the artist that you're
P A G E 4 1
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
you’re working with.” Reinforcing the
importance of working with people who are
able to understand where you're coming
from.
Similarly, to myself, Nikom is a biracial
Asian American (and a fellow Taurus) as his
mother is Thai and his father is white.
Describing his upbringing as a “stricter
Asian upbringing, I played piano from a
young age, but it wasn’t something for me
to be a creative person. It was more of
something to instill regiment in my life and
help me be better and sharper. Looking
back on it I’m glad I learned to play, but I
don’t think my parents intended for me to
be a musician— they wanted me to be a
doctor or a lawyer, something like that.”
Like many Asian Americans, Nikom felt the
pull of filial piety, urging him to pursue a
career that would make his family proud.
“It’s hard when you were raised like that, to
transition out of that mode of thinking.
Naturally, I feel more comfortable with a 9
to 5 kind of job, and to have a regiment.” He
was able to carve out a middle path where
his work could be centered around music,
while also having the stability of a more
structural role. “For
me, working in the music industry, I get to
be creative in certain ways, be around
artists, and be in the music scene, but at
the end of the day I have the security of a
full-time job, and my parents aren’t worried
about me.” He found a way to still follow his
aspirations while ensuring financial and
career security for his parents.Nikom posits
that the more regimented upbringing that a
lot of Asian American kids experience
contributes to the lack of Asian Americans
in the music industry. “We get pushed
towards more objective careers— doctors,
lawyers, engineers, for example. Safe jobs
that make you a lot of money.” Additionally,
noting that “I think it’s hard to dive
headfirst into being an artist if you can’t
picture yourself as that. It’s hard to picture
yourself in those roles when you haven’t
seen yourself represented as some
N I K O M H A L L
P A G E 4 2
"Don’t get complacent with
things and really think about
what you want to be doing
and where you want to be
moving, and keep an eye out
for those kinds of
opportunities. It’s a hard
thing to do, but if you stick
with it. It does get better.”
somebody who could be a success [in the
music industry]. It puts it on youth to have
dreams to envision it on their own, because
they are not hearing it be reinforced in the
media.” Representation is an ongoing
struggle for artists of color, and it’s
managers like Nikom who have set out to
change that.
Nikom’s favorite Asian American musician
is Chad Hugo. Chad is “Pharell’s longtime
partner and they became The Neptunes
when they were kids. And then in the
20000
2000’s they were the biggest producers in
the world. They produced everyone from
Justin Timberlake to The Clips.” Growing
up, Chad Hugo was the only Asian person
Nikom could look up to in the music
industry, “I honestly think that he’s one of
the reasons why I wanted to work in music
in the first place.” This really illustrates the
importance of seeing yourself represented
in the fields you aspire to. “Now, there are
scenes that are starting to blow up. There’s
Rich Brian, who is a really big Asian
American Rapper. And the label, 88 Rising
which is an Asian hip-hop label. So, now
kids are able to see more Asian people
creating music and there are more ways to
see yourself as a musician.” While Nikom
wishes there were more Asian Americans
working in the industry, he also recognizes
the foothold Asian American artists have
gained over the course of his career.
Nikom has worn many hats in the music
industry throughout his career, giving him
a unique insight into how the industry
functions on a macro level. He’s created his
own music, worked closely with other
artists, and knows how the business side
back
P A G E 4 3
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
of the industry operates; making him an extremely insightful person for all the other
Asian kids (and adults) who want to be a part of the music industry. Looking back at
his younger self, Nikom’s message to young people who want to be in the industry is:
“you’re probably strongly opinionated about music and constantly looking for new
music, and in the loop about what’s happening in music. If you’re serious about wanting
to get into the industry, keep doing those things. Get more obsessed with the music
you like. Labels and management companies want to see that. The industry is full of
people that are really passionate about music, and you’re not going to get in if you can’t
demonstrate that you have some sort of passion. So just be yourself times 10 and go
further down that rabbit hole of loving music.” He also gave the more tangible advice to
“just try and get your foot in the door anywhere you can. Don’t be afraid to try and get
into it in any way you can, and try and move from there. It’s a hard industry to get into,
so whatever you have to do to get a foot in the door, do it. And it does get better, if you
stay with it. Don’t get complacent with things and really think about what you want to
be doing and where you want to be moving, and keep an eye out for those kinds of
opportunities. It’s a hard thing to do, but if you stick with it. It does get better.” From a
young age Nikom has been passionate about music and knew he wanted to work at a
record label, but didn’t have any connections there. He was able to get a foot in the
door “by working at a management company for screenwriters. Those guys had all been
agents at WME, so they were able to connect me though that company. I knew it would
be a few years of doing work that I ultimately didn’t want to do, but that it would
connect me to more people. I was able to learn so much about the industry.”
Connections made along the way made all the difference. People he met throughout
the course of his career led him to his current job at Virgin Music.
N I K O M H A L L
P A G E 4 4
While only in his late 20’s, Nikom has worked his way up the music industry to become
the assistant general manager at one of the largest record labels in the world. From a
young age, he knew what he wanted to do for a career, and propelled himself to a
position he aspired to through passion, persistence, and extensive music knowledge.
Nik’s story is an honest depiction of how difficult being Asian American in the industry
can be, while also encouraging people to pursue their passions— and that there are
experts like him that are excited to bring young people into the fold.
S t a y u p o n t h e l a t e s t r e l e a s e s
f r o m V i r g i n o n I n s t a g r a m
@ v i r g i n m u s i c
“I think it’s hard to dive head first into being an artist if you
can’t picture yourself as that. It’s hard to picture yourself in
those roles when you haven’t seen yourself represented as
somebody who could be a success."
P A G E 4 5
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
The Queen of Goguryeo depicts beautiful Asian women who could be Korean (or even
mixed with Chinese, Jurchen, or Mongolian blood) living in northern Manchuria, where
the kingdom of Goguryeo existed. I depicted the pinnacle of Asian beauty by being
faithful to the Asian genes and physical character and what it can result in without the
need to give them a westernized appearance like Japanese anime. I want every Asian
girl or woman to look at the painting and feel the immense beauty that is a reflection of
themselves, and I want every Asian boy and man to look at the baby tiger and feel the
raw power of the baby tiger, which is a reflection of their future selves. In all, The
Queen of Goguryeo is about equality and the pursuit of beauty and truth. I hope I have
been quite successful in this regard.
C H U N B U M P A R K
P A G E 4 6
T H E Q U E E N O F
G O G U R Y E O
B y C h u n b u m P a r k
I grew up in the American South and experienced racist
attitudes that belittled Asians and Asian women in particular
about their appearances and their lack of attractiveness
and/or sexual desirability. On one hand we had the European
paintings and fashion and swimsuit magazines that essentially
declared western beauty standards to be a pinnacle, while on
the other hand Japanese anime agreed by whitewashing its
characters to appear western, which was a form of selfhatred.
As a teen, I had such low self esteem about myself and
my race because of the constant belittling and derogatory
comments expressed by my classmates and the lack of
representation of Asians in the media, the arts, etc. The only
worthy Asians were the ones who could get into the Ivy
League schools or become a doctor or lawyer. It was only
through a decade of soul searching and my own exploration of
my artistic abilities and visions that I regained my sense of
self, self-esteem, and pride of being an Asian.
P A G E 4 7
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
"One of the themes
that continues in my
paintings is
representing the
underrepresented."
T h e C u t i n m y C u l t u r e s
N i c k L e e
@ s i r n i c k l e e
N I C K L E E
P A G E 4 8
N I C K L E E
This painting is about the conflicting nature of
being Japanese decent and being an American
citizen. The image of the Japanese in America is not
flattering and quite ignored today. Movies before
WWll and after depict white actors as Asian
characters, especially the Japanese in yellow-face.
These movies created horrible stereotypes that are
still present. Hollywood still casts white actors as
Asian and Japanese rolls.The arts have a similar
exclusion like the movies do today. There are not
too many contemporary Japanese Americans
painters that are show cased in America. It is so
important for me as a Japanese American to paint
myself for representation of real Japanese
Americans as the subject and of the artist. I hope
the viewer can see the cut in my cultures and strive
for representation for Japanese Americans, because
it takes everyone to fight for inclusion.
P A G E 4 9
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
" D i d y o u h e a r A m e r i c a i s
s u p p o s e d t o b e G r e a t
r i g h t n o w ? "
T h e E m b r a c e o f t h e
C l i c h e
"Stereotypes linger when
non-Asian people think of
the Asian community and I
believe that these
paintings can bridge the
gap between our
differences."
N I C K L E E
P A G E 5 0
B y N i c k L e e
@ s i r n i c k l e e
C l u b Q u e e n
A . K . A . P o i s o n I v y
P A G E 5 1
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
I N T E R L U D E :
S O U N T R A C K S
W I T H O S C A R
B A U M A N
B y K a t h e r i n e L e u n g
What are your current favorites?
One recent release I’ve had on repeat is “OK Human,” the new album by Weezer. It’s a fun,
introspective album that combines pop song structures with orchestral instrumentation. I’ve also
been listening to the EP “Dystopia: Road to Utopia” by Dreamcatcher. They’re a K-pop girl group
that take influence from metal, and blend that together with pop and EDM.
What songs would be in the “Soundtrack of Oscar’s Life”?
To get through the pandemic, I’ve been turning to a lot of the artists I liked back in middle and
high school, which is a lot of pop-punk and emo. Old Fall Out Boy, Green Day, Paramore, Bring Me
The Horizon, All Time Low, My Chemical Romance, that sort of thing. I’ve also, weirdly, been
listening to dance-pop and EDM. I guess, even though you can’t go out, you have to get that
energy out.
What music do you listen to when you’re working or writing?
I usually find music with lyrics to be distracting if I’m trying to seriously work, so I tend to listen to
film scores while I’m working. I really like some of the scores Trent Reznor and Atticus Ross have
done for David Fincher’s movies, like “The Social Network,” “The Girl With the Dragon Tattoo,”
and “Gone Girl,” which all have this really dark ambient industrial mood that’s simultaneously
calming and energizing.
O S C A R B A U M A N
P A G E 5 2
What bands or artists do you think are underappreciated?
This is kind of hard, because I’m never sure what the right amount of appreciation is for an
artist. Like, is everyone below chart-topping pop stars underappreciated? Or are they
appropriately appreciated at a different level of success? That being said, I’ll say Pale Waves,
The Naked and Famous, and Nothing, Nowhere are artists I often find myself wishing more
people knew from, if for no other reason than to have someone to talk about their music
with.
What is the best live show you’ve ever attended?
Probably the first time I saw Twenty One Pilots, in 2016. They have an absurdly energetic
live show that really pulls out all the stops when it comes to putting on a massive spectacle,
and I think it’d convert even people who don’t like their music.
You’re down in the dumps. Everything is going wrong. What five songs do you listen to?
Tough question since I listen to so much angsty music, but here’s a few that sort of run the
range of angry sad to mellow and melancholy.
Bring Me The Horizon- Shadow Moses
Catherine Feeny- Mr. Blue
Mitski- Your Best American Girl
Fall Out Boy- Tell That Mick He Just Made My List Of Things To Do Today
Phoebe Bridgers- Motion Sickness
Quarantine’s over. You’re the DJ for a worldwide dance party. What are some songs you’d
have on that setlist?
Talking Heads- Once In A Lifetime
Far East Movement- Like A G6
The Naked and Famous- Young Blood
Gryffin- Body Back
Carly Rae Jepsen- Run Away With Me
New Order- Bizzare Love Triangle
P A G E 5 3
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
J A S M I N E
J A S M I N E L E E
P A G E 5 4
L E E
Jasmine Lee is an artist of multiple disciplines, which she focuses around her Asian
American identity. She uses photography, painting, and sewing to express her love for
her Chinese culture and her desire to take a stance on a plethora of social justice
issues. Most recently, Lee used the money made from her handmade masks to
purchase supplies for Rosie’s Place, a women’s shelter in her hometown of Boston, MA.
She has also been working together with the Asian Task Force Against Domestic
Violence (ATASK), also based in Boston.
P A G E 5 5
E N T E R T A I N M E N T A N D R E P R E S E N T A T I O N
D i s h o n o r a r y W h i t e n e s s
J a s m i n e L e e
@ j u s t f l y p r o j e c t
J A S M I N E L E E
P A G E 5 6
"I am not a full-time artist and it has
been difficult to practice art consistently.
However, when I do create, I made it my
responsibility to use my strengths and
skills as an artist to challenge, uplift and
heal... I continue to create because my
strong support systems mean
everything... I also want to transform my
own trauma and pain into justice
through artmaking."
P A G E 5 7
C U L T U R E , T R A D I T I O N , A N D N E W Y E A R ' S
C U L T U R E ,
T R A D I T I O N ,
A N D N E W
Y E A R ' S
C U L T U R E , T R A D I T I O N , A N D N E W Y E A R ' S
P A G E 5 8
P A G E 5 9
J A M I E M A H
P l a t e s f r o m L t o R : B a r b e c u e P o r k S l i c e s ( ' B a k
K u a ' ) , K u i h K a p i t , P i n e a p p l e T a r t s
Jamie Mah shares common Chinese
New Years Food from Malaysia in
English and local Malay language!
J A M I E M A H
P A G E 5 9
J A M I E
M A H
@ j a i m y g d a l a
E n l a r g e d S i n g l e
C o n t a i n e r : K u i h K a p i t
6 C o n t a i n e r s - B a c k R o w : P i n e a p p l e
T a r t s , K u i h K a p i t , A r r o w h e a d C r i s p s
F r o n t R o w : P e a n u t B u t t e r C o o k i e s , K u i h
B a n g k i t , a n d A l m o n d B u t t e r C o o k i e s
P A G E 6 1
C U L T U R E , T R A D I T I O N , A N D N E W Y E A R ' S
B y A n n i k a C h e n g
福 G O O D L U C K
This 福 decoration was always in my home growing up. Every year on Chinese New Year, my
parents would get a new one to put on our door and we would hang it up together. Since the
beginning of the pandemic, I've been stuck living away from home, away from my family, and
away from my culture. It comes with a lot of mixed feelings: it feels like I am growing up and
becoming more independent, but it also feels like I’m growing more distant from my community
and my culture. Making this piece was a small way of keeping Chinese culture close to me,
while also wishing myself good luck.
Recreating an object like this represents the labor of learning about heritage but also represents
the love and care that this decoration carries. In thinking about the medium of the work, it is
interesting to compare the bobbin lace process to the ink calligraphy process that these
decorations are typically executed in.
A N N I K A C H E N G
P A G E 6 2
They mirror each other in interesting
ways. Bobbin lace appears to be
extremely difficult and complicated, with
its seemingly infinite bobbins, but a signal
stitch is fairly easy to learn. Contrastingly,
calligraphy is deceptively simple, with
quick brushstrokes that actually take
years to fully master. They both function
on a 2D plane, creating a final work that is
thin and delicate.
This piece is made out of bobbin lace
instead of the traditional paper, so it
doesn’t hold its shape when hung on the
wall unless all four corners are pinned.
The lack of structure signifies the ability
for traditions to shift and change with
new generations. The portability of this
object also speaks towards the need for
traditions to move with people.
P A G E 6 3
C U L T U R E , T R A D I T I O N , A N D N E W Y E A R ' S
C H I L D H O O D
D R E A M S O F
C H I N E S E N E W
Y E A R
B y W e n c h i n g i n W o n d e r l a n d
@ w e n c h i n g i n w o n d e r l a n d
W E N C H I N G I N W O N D E R L A N D
P A G E 6 4
"What I wanted was to
feel a sense of belonging,
and to bond with friends
over our shared culture
as ethic Chinese.
I drew these costumes,
with traditional Chinese
motifs, but a touch of
modern design. These
are the traditional
costumes I had always
dreamed of wearing
from childhood."
P A G E 6 5
C U L T U R E , T R A D I T I O N , A N D N E W Y E A R ' S
C h i l d h o o d d r e a m s o f
C h i n e s e N e w Y e a r
W e n c h i n g i n W o n d e r l a n d
@ w e n c h i n g i n w o n d e r l a n d
W E N C H I N G I N W O N D E R L A N D
P A G E 6 6
I was raised in a Malaysian Chinese single parent family for most of my life after my
parents went through a messy divorce, which led to my mom rejecting anything to do
with my dad, who is from Hong Kong, and my heritage as a Hong Konger. I never felt
Malaysian, no matter how hard I tried.
My mom always rejected Chinese culture for as long as I could remember, and I've
never gotten the chance to wear traditional Chinese costumes at Chinese New Year.
Being a huge fan of Japan, my mom always made me wear a kimono at Chinese New
Year.
When there were school parties where we had to wear traditional costumes
representing our culture, I dreaded going to school because I knew that I would have to
wear a kimono. I was constantly bullied by the other kids for pretending to be Japanese,
and I was always excluded. I never got a chance to feel like I belonged.
"You should be thankful that I bought you this kimono to make you special. Everyone
else will be wearing the same cheongsam and you can stand out. Nobody will wear the
same dress as you" She always said.
But what I wanted was to feel a sense of belonging, and to bond with friends over our
shared culture as ethic Chinese.
I drew these costumes, with traditional Chinese motifs, but a touch of modern design.
These are the traditional costumes I had always dreamed of wearing from childhood.
P A G E 6 7
A C T I V I S M
A C T I V I S M
A C T I V I S M
P A G E 6 8
P A G E 6 9
A C T I V I S M
I A M A M E R I C A N
T O O
B y J a s m i n e L e e
@ j u s t f l y p r o j e c t
A C T I V I S M
P A G E 7 0
T h e C o m m u n i t y o f
C h i n a t o w n
J a s m i n e L e e
@ j u s t f l y p r o j e c t
P A G E 7 1
A C T I V I S M
C H I N A T O W N
B y B r i a n n a M i t j a n s
@ b r i a n n a m i t j a n s
A C T I V I S M
P A G E 7 2
L O S A N G E L E S
H U S T L E
This painting is part of my "Love letter Los
Angeles" series. I wanted to depict
important everyday scenes that represent
Los Angeles to me. There's no hustle like a
LA hustle. Chinatown has always reminded
me of 7 am dim sum and taking home pink
pastry boxes with my grandparents.
P A G E 7 3
A C T I V I S M
C O M M U N I T Y
D R I V E N A R T :
I N T E R V I E W
W I T H K O Y
S U N T I C H O T I N U N
B y K a t h e r i n e L e u n g
K O Y S U N T I C H O T I N U N
P A G E 7 4
Isara "Koy" Suntichotinun is a multi–disciplinary, Asian American artist born in
Bangkok, Thailand, raised in South Carolina, and currently based in San Diego. He's
studied at SC Governor's School for The A&H, School of The Art Institute of Chicago,
and Grossmont College. His passion started with sculpture & kinetic art then
transitioned to lettering and illustration where he honed in on perspective and
letterforms. Presently, Koy works as a Creative Associate for Passion Planner, works
freelance for clients such as Noname and Adobe, and is revisiting observational drawing
as a personal journey. Koy is also a practicing rock climber currently projecting V3s in
the gym and 5.6 outdoors because he's afraid of getting hurt outside.
Koy’s online shop, can be found at Koysun.fun, is appropriately named the World
Famous Curiosity and Oddities store, and features wearable merchandise with his
digital designs. He caught my eye on Instagram almost four years ago and I was
honored to sit down with him and get insight into the Southern Thai-American artist
experience.
P A G E 7 5
A C T I V I S M
You’re the king of the emoji collage. You
have so many poignant vignettes told
through emojis on your Twitter. It’s
twenty-first century poetry, after all. Tell
us the inspiration behind them.
My obsession with making emoji collages
began when I was texting my friends and I
made a creepy face with the eye, nose, ear,
and mouth emoji. From there, I was
experimenting with coding a Twitter bot
and I realized that the Tweet format allows
for multiple spacebars (outside of the first
line) and the leading between sentences are
really tight through profile view, giving the
perfect digital canvas for collages.
I like doing Twitter collages because there's
no pressure for me to do a "good job."
Having art be both a hobby and a career
makes it so that I don't really get a chance
to make things purely for fun; with emoji
collages, I can just experiment and be
present.
The aesthetics of emojis can also be a little
uncanny especially when diverse glyphs are
placed together. Whether I do something
representational like making a chess board
or something abstract like color organizing,
they all seem to match within the same
family but also completely contrast one
another. There are so many variations of
faces and proportions for just the human
figures alone that if you stare at them too
long, it can start to feel a little jarring. I
enjoy exploring the font because there's
always something new to discover.
K O Y S U N T I C H O T I N U N
P A G E 7 6
I like doing
Twitter collages
because there's no
pressure for me to
do a "good job."
Having art be
both a hobby and
a career makes it
so that I don't
really get a
chance to make
things purely for
fun; with emoji
collages, I can
just experiment
and be present.
P A G E 7 7
A C T I V I S M
You say that the best art is made with self love and honesty. Your artwork is filled with
positivity and supportive slogans like “I love myself!” and “Just start!” that are not only
encouraging, but profoundly and personally relevant. Can you talk about the process of
creating honest work?
I was fortunate enough as a teen to be
admitted into an art high school called
South Carolina Governor's School for the
Arts and Humanities. From there I stuck
with art making and attended two years at
School of the Art Institute of Chicago. I
spent four years in total of my life
immersed within art academia before I was
even 21. I've slogged through arduous
critiques made up of overly-privileged
students putting together last minute
pieces usually with expanding foam and
two by fours, hearing them stumble over
their words about trite concepts. I
understood that art is subjective and that
anything could be considered art. Whether
it's the topological patterns in nature or a
banana with duct tape, there will always be
someone who admires the aesthetics of any
piece.
When you start realizing that art doesn't
conform within museum walls, nor do
pieces require any skill to be considered
art, what foundation is there to continue
making work without getting lost and
senile? For me, I just promised myself that
whatever I made, I wanted to make with
honesty. Honesty and intention was my
foundation. This perspective made it so
that I wasn't limiting my view of art to just
hard skills. I became accepting of many
different forms of art because I cared more
about what the artist wanted to convey
more than the time it takes or the practice
it required, though I admire those traits
too. I learned to respect artists like John
Baldessari who made work with just
colored sticker dots as well as artists like
Kehinde Wiley who I consider one of the
best contemporary painters alive.
K O Y S U N T I C H O T I N U N
P A G E 7 8
P A G E 7 9
A C T I V I S M
I didn't dislike a student's work because it didn't take much time, I disliked it because I
knew the piece was rushed and the intention was to complete an assignment, not to
make art. If a person makes art with the intention for greed, that aura will exude out of
the piece. If the artist doesn't care about the work they made, why should anyone else?
To add on to making art with honesty, I don't consider myself naturally gifted. I grew up
encouraged to strive for great things but there was never a time where I was the best in
any class. There was always someone technically better than me. But I used the tools
that I did have to make work that meant something personal to me. For example, when
I first started illustrating, I was really insecure about color theory, thus I invested all my
time in perspective with pen and ink. Drawing with a pen forced me to find a way to
make comprehensible drawings with just negative space. I then colored everything
digitally so I had more room to make mistakes. I may not be the best illustrator, but the
things I made, I invested my whole self into because I cared about them. That was
enough for me, this ideology helped me be less hard on myself because I am very
insecure about my lack of technical skills.
K O Y S U N T I C H O T I N U N
P A G E 8 0
You share that when you first dropped out
of college and had no name for yourself,
you would spend your days doing
perspective drawings of visual motifs
found when exploring Thailand through
Google maps. Can you talk more about the
concept of Thailand streets in your work?
Who are the Thai street vendors of your
mind’s imagination? Where is “home”?
I was born in Bangkok, Thailand but I was
raised in a bakery store in a small town
called Suphan Buri. I would wake up to the
sounds of people shopping because I was
living in the middle of a market. I remember
remember when I was 16 and visited my
hometown again, I had street vendors
recognize me and tell me about how they
would see me when I was 3. I didn't
remember them but the thought of how
street vendors raised me made a huge
impact on my identity. I became enamored
with drawing the streets of Thailand
because I wanted to learn more about the
culture that I lived in but forgotten.
I never lived in one place for too long so
Home for me is defined by a Jack Johnson
lyric where he sings, "Home is wherever we
are if there's love there too." If I feel loved,
then I am home.
P A G E 8 1
A C T I V I S M
Thai Americans are underrepresented in
the media and arts. Your work certainly
combats that, while creating a uniquely
you. Not Thai, not American, but you. Can
you talk more about your upbringing -
from the Cambodian community in South
Carolina you grew up in, then the Filipinx
community you attended college around -
and how that plays a role in your art
practice?
Not many people talk about Asian
communities in the deep south. There is a
Chinatown in Mississippi composed of
Chinese families with Southern accents.
Their ancestors moved to Mississippi to
pick cotton and eventually became farmers
and grocery store owners in Black
communities. I grew up in Boiling Springs,
South Carolina which consisted of Lao,
Cambodian, and Thai families living in the
deep south. Most of the community was
Cambodian or half Thai.
I didn't get a chance to interact much
within the culture outside of school
because my parents didn't let me out often
but I did celebrate Khmer New Year. I was
lucky to live in the South and still feel
represented. Though I wa
feel represented. Though I was
discriminated against by White people, I
grew up during the "AZN" surge coinciding
with Tumblr so we all were pretty
empowered about being Southeast Asian.
My friends were either B–boys or really
into cars driving Honda Integras. It was a
really fun time forsure! Though I have lived
in a lot of places, I tell people I'm from
South Carolina because that's where I
mainly grew up. I'm proud of my upbringing
and I find myself more grounded than most
Asian Americans living in California. I had
friends who would go "muddin" and I
remember the most exciting thing to ever
happen in my hometown was the first
Quiktrip gas station opening up down the
street, and a burger joint called Cookout. I
didn't catch the Southern accent outside of
saying "y'all" unfortunately.
When I moved to Chicago, I was introduced
to more Asian cultures with a lot of
international Korean and Chinese students.
One of the most disappointing experiences
in my life was when I met another Thai
artist that was my age for the first time, but
they hated the idea of being Thai. Thus I
found myself enveloped
K O Y S U N T I C H O T I N U N
P A G E 8 2
being Thai. Thus I found myself enveloped within the FilipinX community. I was friends
with people who worked in the Field Museum, who specifically overlooked the
Philippines collection. I attended events introducing FilipinX culture and met
traditional tattoo artist/historian Lane Wilcken. I knew pride when I lived in South
Carolina but for some reason, FilipinX pride in Chicago was powerful. I felt accepted
within the FIlipinX community but I was still just an observer, but being within this
community I was inspired to build my own and share my identity as a Southern Chinese
Thai American in hopes of finding others who yearn for the same communal pride as I
was. So I started making art about Thai culture and the language which led to me
meeting a small community on Instagram called "ThaisTogether." It's a slow build but
I'm enjoying the process.
P A G E 8 5
A C T I V I S M
You frequently make a small run of your
designs and donate much of the proceeds to
local organizations. Tell us about some
organizations you have worked with and how
we can support them.
I've worked with large companies like Adobe
and Amplifier but the most rewarding gigs are
the small local ones that support my
communities. I've worked to donate money to
SDBail Fund, a non–profit composed of
lawyers helping to free San Diegans held
captive by our bail system. The best way to
help them is to continue to donate money,
especially during "unpopular" times when
fighting racism isn't a "trend."
I designed a t–shirt for Support Essential
Heroes which is a non–profit made where
they collaborate with freelance artists to sell
garments and all the money is then invested
into local struggling restaurants where the
meals made are then donated to essential
workers. I've also worked with Rice Bowls for
All where every bowl purchased, another meal
is given to a person in need during the
pandemic. You can support by of course
purchasing a meal.
K O Y S U N T I C H O T I N U N
P A G E 8 6
I haven't personally worked with
ThaisTogether but I'd like to give them a
shoutout for continuing to be an epicenter
for Thai pride! Giving their Instagram
follow would be a huge support for them.
You are not just surviving, you are
thriving with bipolar disorder. Can you
talk about how this plays a role in your
work?
The hardest thing about being an artist
with bi–polar disorder is that I go through
phases where when I am manic, I get so
much work done and reach so close to my
personal goals, only for me to have to
completely reset after I experience a
"down." During my depressive episodes I
can sleep for more than 11 hours in a day
and I completely give up on myself. It's
difficult to work because I have little to no
hope for myself. I get really self conscious
and bitter too and my world can get really
dark especially within a pandemic.
With this though, I feel so accomplished
when I push myself to work during a
depressive episode because I have
practiuced
practiced a way to coerce myself to focus.
This usually comprises of a lot of small
victories such as working out mid day,
cooking, and listening to hours of music. I
get a lot of support from friends too. My
love language is verbal affirmation so when
I'm in a bad headspace, my friends are
always there to reaffirm that I'm doing
okay.
I also learned about forcing my body into a
parasympathetic nervous system, also
known as "rest and digest." When people
are anxious, they force their bodies into a
sympathetic nervous system which is "fight
or flight."
Your body feels like it's in danger thus it
conserves energy and can lead to physical
ailments like IBS. When I have a panic
attack, I do a breathing technique I learned
from grad students to help put my body
back in a parasympathetic nervous system.
I also take probiotic supplements to help
with my IBS and also ensure that I fully
digest everything I eat since 90% of
serotonin is produced within the gut.
In order for me to make the best work, I
have
P A G E 8 7
A C T I V I S M
have to have a lot of discipline to make sure my body and mind is as
stable as possible. I rarely miss taking my medications anymore because
of how easy it is to relapse with mental illness.
I used to make a lot of work about mental illness but I've shifted my
perspective to making art more about identity while being transparent
about being an artist with bi–polar disorder. I'm never afraid to open up
myself to people because I think I have a responsibility to show my
imperfections since my social media presence can be impressionable. A
lot of people with mental illness have reached out to me, it's reaffirming
to know that I'm not alone, and that I am helping people by being honest.
K O Y S U N T I C H O T I N U N
P A G E 8 8
What advice do you have for other artists who are
working with mental illness?
Be patient with yourself, focus less on finding a cure
for your illness and focus more on finding ways to
work with yourself. Be responsible and go to your
psychiatric and therapy appointments on time. Be
serious about taking your medications and don't skip
a day. Improving your mental health is a long term
journey so make every day count and don't take your
doctors for granted. Self care isn't always going to be
pretty, sometimes it involves forcing yourself to fill
out overdue paperwork or going on a jog when you
don't want to; be able to differentiate between
treating yourself and self care.
Something that I need to tell myself all the time is that
everyone is on their own path to success. Everyone is
on a different chapter in their lives and you just need
to focus on yours and don't get discouraged when it
feels like everyone else is ahead. Being a person with
mental illness is similar to being a person with a
broken arm, the only difference is that mental illness
is invisible. Be kind to yourself and support others on
their success. Your time will come, continue to
believe in yourself and work hard and know you're not
alone. The fight can sometimes be hard but know you
are more than capable of handling anything that
comes your way but don't be afraid to ask for help.
P A G E 8 9
A C T I V I S M
"I feel so
accomplished when I
push myself to work
during a depressive
episode because I
have practiced a
way to coerce myself
to focus. This
usually comprises of
a lot of small
victories."
K O Y S U N T I C H O T I N U N
P A G E 9 0
Plug some Asian American artists
we can support!
Some Asian American fine artists
that inspire me everyday are Mel
Chin, Ray Yoshida, Yayoi Kusama,
Cao Fei, Sharina Shahrin, Maya Lin,
and Thai artist Rirkrit Tiravanija.
@ k o y s u n
K o y s u n . f u n
P A G E 9 3
A C T I V I S M
A S O C I A L
J U S T I C E
R E A D I N G
G U I D E
C u r a t e d b y
S a m R i e d m a n
S A M R I E D M A N
P A G E 9 4
P r i s o n b y A n y O t h e r N a m e
b y M a y a S c h e n w a r & V i c t o r i a L a w
T h e K a r m a o f B r o w n F o l k s
b y V i j a y P r a s h a d
C a n t h e S u b a l t e r n S p e a k ?
E d i t e d b y R o s a l i n d C . M o r r i
H a m m e r a n d H o e
b y R o b i n D . G . K e l l y
F r o m # B l a c k l i v e s m a t t e r t o B l a c k L i b e r a t i o n
b y K e e a n g a - Y a m a h t t a T a y l o r
P A G E 9 5
A C T I V I S M
F L O W E R B O Y
L A U R A J E W
P A G E 9 6
B y L a u r a J e w
@ t h e _ l 0 s t _ a r t i s t
P A G E 9 7
A C T I V I S M
S A F E
As a Chinese American artist, these works seek to explore the stigma
around expressiveness, dreaming, and voice. It is often the case that the
stories of Asian Americans go untold, and yet there is both richness and
adversity in our histories that is asking to be spoken and reimagined.
L A U R A J E W
P A G E 9 8
U n t i t l e d
L a u r a J e w
@ t h e _ l 0 s t _ a r t i s t
P A G E 9 9
S P I R I T U A L I T Y
S P I R I T U A L I T Y
S P I R I T U A L I T Y
P A G E 1 0 0
P A G E 1 0 1
S P I R I T U A L I T Y
K A T H E R I N E L E U N G
P A G E 1 0 2
H E R B A L
M E D I C I N E I S
A L L W E H A V E
B y K a t h e r i n e L e u n g
Asian plant medicine is something our
ancestors relied on centuries before the
advent of Western medicine. In this article,
I will talk about some of the ways young
people, including myself, have been
conditioned to balance modern healthcare
with ancestral wisdom. At the core of it, is
recognizing that relief comes with
appreciating and valuing (without
extracting or exploiting) the natural life
around us.
Devoid of ancestral medicine, lacking of
wisdom outside of commodified
pharmaceutical company advertising and
corporate farming - many young people
have turned inward for medical advice.
Young people in the United States are
taught to seek Indigenous plant medicine
for hope outside of health systems. But
there are other ways of coping with the
failed American health care system.
Perhaps your family has already passed this
knowledge onto you.
Relationship with health practitioners
Americans are less like to go to doctors and
perform preventative care than any other
of the developed nations. We also have a
low supply of physicians, as the gap is
exacerbated by a privatized higher
education system and predatory student
loan industry. My family did not always rely
on a doctor, but drew from a couple of
experts in making informed decisions.
P A G E 1 0 3
S A M R I E D M A N
C o l l a g e w i t h f o u n d m a t e r i a l s
S a m R i e d m a n
@ s c a l d i n g w a r m
K A T H E R I N E L E U N G
P A G E 1 0 4
Do you have an “Asian doctor” and then your
“regular doctor”? Many people in the Asian
community do have two doctors. Growing up
in Texas, I had my Western medicine
practitioner who would give me yearly
vaccines and medicine for when I got sick. But
I also had an Asian doctor. This Asian doctor
had better “answers” than my Western doctor.
But they also have a different way of framing
issues. Instead of targeting problems issue by
issue, Asian doctors see your body as a
singular system with a clear input and output.
P A G E 1 0 5
S P I R I T U A L I T Y
In sino culture, which I am a part of, there
is a belief that in everyone is a “hot air” and
“cold air”. Everyone has an innate fire in
them, and when the fire is given too much
fuel, it rages through your body in the form
of acne, inflammation, cramps, distress in
the bathroom and more. Food is the main
determinant of how the fire would rage in
your body. Hot air foods include anything
that is fried, beef, and lychees. I remember
being told as a kid not to eat too many
lychees (not that it was a common problem,
they are hard to find in the US outside of
Asian grocery stores and even then are not
the best quality) as eating too much can
cause nightmares, also another element of
hot air, or “yeet hay”, as it is known in
Cantonese language.
These foods are more like guidelines,
rather than hard and fast rules. They’re
more commentary on newer, less
sustainable food sources. Beef certainly has
a large carbon footprint than chicken; fried
foods require an excess of oil in the
production with a large calorie intake and
low net nutrient count. With a sino doctor,
conversations about food are more
common than blind diagnosis
Sino medicine also warns against cold
beverages, which is almost a staple in
Western culture. Hot water with lemon to
start the day to get your digestion going.
Hot water matches your inner body
temperature which is why it’s better for
digestion overall.
My mom had a fridge full of plant
ingredients to make soup. While
Westerners may cite the restorative
properties of chicken noodle soup -
Cantonese soup making goes deeper than
that. When we had oily skin, we had
gingseng soup of Canadian and American
ginseng (not Korean, because that one is
too “yeet hay” for that purpose). Angelica
root for women’s health. Chinese barley for
all skin ailments. Dried cordyceps
mushroom for anti-aging but also better
digestion. My mom didn’t make soup to
target a singular problem though, they
were to treat the system as a whole,
primarily through digestion. On a similar
note, the Russian word for “body” is the
same word for “stomach”, which the word
“life” derives from, because many ancient
cultures agree that the stomach is where
your health is truly regulated, where your
life stems.
K A T H E R I N E L E U N G
P A G E 1 0 6
Food is accompanied by acupuncture and body work, when
needed. My Asian doctor never forced patients to use any of
these services, but they were available and “worked” for people
who “wanted” it to work. For example, in high school I
struggled with undiagnosed reactive hypoglycemia, coming
from a family of diabetics, and belly rubs from an acupuncture
practitioner in the clockwise direction aided digestion.
Regulating your breath and deep tissue acupressure massage in
the shoulders certainly help with stress and de-tensing your
body. Westerners are catching on with the popularity of asana
(body movements), mindfulness, and even acupuncture
cupping among celebrities.
Lastly, an Asian doctor is also one that could write scripts for
you. We had a local mom and friend in our neighborhood who
would write scripts for malaria pills when we would go abroad.
She’d write scripts for allergies when over-the-counter
medicine wasn’t cutting it. I wouldn’t bother our general
practitioner, as they had long wait times and their own
medication agreements with pharmaceutical companies. That
was sort of the secret genius of living in an immigrant
community. I never pushed the boundary to see what other
prescriptions she could write, but she certainly was part of
what I knew as health and staying healthy in my community.
P A G E 1 0 7
S P I R I T U A L I T Y
A refreshing scene in many Asian
communities across the diaspora is waking
up to elders performing tai chi, usually as a
group. When I stayed in Hanoi, Vietnam for
two weeks, I saw elderly performing tai chi
in large groups in city squares. When I
spent summers in Hong Kong, I saw elders
leaving their compact sky-scraper like
apartments to enjoy a breath of fresh air
and perform tai chi with friends at the park.
My mom continues this practice at her
home, in a different way. In quarantine, she
meets up on Zoom and performs Praise
Dance with her sisters in christ from her
evangelical church. These movements are
done following videos filmed with
Taiwanese religious leaders, championing
the christianization of Southeast Asia.
While I don’t agree with all the practices, I
recognize that movement is a part of our
culture and it seems like only at an elderly
age do we begin to slow down and find our
bliss. Elders in the Asian community really
personify this ideal. That’s probably why we
continue to look to elders for advice and
why parents and grandparents play such a
huge role in our upbringing.
Perhaps I’ve got you thinking about some
plant practices your family. Perhaps you
feel a sense of loss because you haven’t
“retained” any plant knowledge. That’s okay
because as more and more research is done
on Asian health practices, the more widely
it becomes available. Gogi berries,
mushrooms, and even black garlic are three
plants that are in vogue. Sustainable
farming is a new trend as more and more
people don’t see the need for corporate
mono-crop farms, toxic fertilizer, and
genetically modified food any more.
Capitalistic and imperialistic-style resource
extraction no longer serves us. It is not too
late to return to ancestral wisdom.
K A T H E R I N E L E U N G
P A G E 1 0 8
"Movement is a part of our
culture and it seems like only at
an elderly age do we begin to
slow down and find our bliss.
Elders in the Asian community
really personify this ideal.
That’s probably why we
continue to look to elders for
advice and why parents and
grandparents play such a huge
role in our upbringing."
P A G E 1 0 9
C O V E R A R T
S I N G K I L
B y E t h e l M a r t i n e z
Singkil is a dance that takes its name from the bells worn on the
ankles of the Muslim princess. It's one of the oldest of Filipino
dances. Singkil recounts the epic legend of the "Darangan" of the
Maranao people of Mindanao. The dancers wear straight, solemn
faces and maintain a dignified pose while dancing at a slow pace.
The music gradually progresses to a faster tempo while the
dancers skillfully manipulate their fans, representing winds. The
dancers weave expertly through criss-crossed bamboos.
S u n g k i l
E t h e l M a r t i n e z
a t e e s f o n d m e m o r i e s . c o m
@ a t e . e t h e l s . f o n d . m e m o r i e s
E T H E L M A R T I N E Z
P A G E 1 1 0
P A G E 1 1 1
C O V E R A R T
A S P I R I T U A L
C O N N E C T I O N
T H R O U G H
C O L O R :
V I J A Y A L A X M I
P A G E 1 1 2
I N T E R V I E W
W I T H H I N D U
A R T I S T
V I J A Y A L A X M I
B y K a t h e r i n e L e u n g
I first discovered Vijayalaxmi and her work
on Instagram. The focus on value on every
single one of her portraits is breathtaking.
Her use of shadow makes her figures and
faces come alive in all her canvases.
Vijayalaxmi is influenced by her faith and
divine femininity is a recurring theme in
her works. The Hindu faith offers truly
radical feminist take on feminine divinity,
something Western audiences are just take
beginning to explore. Vijayalaxmi's
paintings are a modern day conversation
between Shakti and Shiva.
P A G E 1 1 3
S P I R T U A L I T Y
Where are you currently based? What is
the art scene like there?
Describe your art style. What makes your
art uniquely yours?
I am based in MUMBAI, an art hub of India
where the Sir JJ School of Art is located -
the country's first and eminent art school.
The art scene in this major city has been in
an evolutionary flux and has been a home
to the noted artists, past and present - R
Raja Ravi Varma, Abanindranath Tagor,
Jamini Roy, Amrita Shergil, art movements
like the Progressive Art Group and many
individual artists and several art
communities of the like-minded. They have
played a role in enabling art to flourish. Not
a week passes without at least 2 or 3 major
one-person and group shows opened.
Galleries galore. It’s a place for artists to be.
To me art is just art. It could - and does -
sound clichéd but the reality is art has no
language, but has style variations which
individual artists develop. It is a constant
effort at strengthening your own style. It
reflects the painter's distinct personality
and patience, willingness to seek
perfection. It has not occurred to me that I
should, as a choice, follow any specific
style, but my present preference is a
combination of realism plus some
abstraction. Abstraction shouldn't be so
vague that the viewer is left to interpret it
in his or her own way. My rendering of a
subject or an idea should easily connect
with the viewer. Human forms, for
instance, have to be perfect but at the same
time should easily leave room for
interpretation that is instinctive for the
artist and be clear to the viewer. I just
follow my instinct and my heart.
V I J A Y A L A X M I
P A G E 1 1 4
S h i v a n a g i n i
D u r g a
P A G E 1 1 5
S P I R T U A L I T Y
K a l i
M a h i s h a s u r
V I J A Y A L A X M I
P A G E 1 1 6
Since my childhood I have been an ardent devotee of SHIVA, one of the deities in the
Indian pantheon. I am his devotee, and have a deep spiritual connection with Him. He
is traditionally described and later visually interpreted in the mythologies as having a
human form, well-built to the perfection of an athlete. He has long, even matted, hair,
is barely clad, and his abode is the Himalayas. My constant efforts are directed at
depicting His divinity on canvas. Within Him resides Shakti, his Consort. Shakti is the
power of the woman. Over incarnations, they pursue each other. Shakti in feminine
form speaks more about every woman as divine.
My medium is oil and acrylic on canvas though I occasionally do handle charcoal and
watercolour. I also love to dabble with clay as well to understand the threedimensional
forms. It is educative when translating on to the canvas.
The anatomical perfections I try to depict is because of the benign supervision of my
guru, Aditya Chari, a concept artist, illustrator, animator, and a great teacher of
anatomy – there isn’t a medium he is not comfortable with. For years I had struggled
learning, including formal art school, but found my later self-exploration incomplete.
And Aditya helped me open my mind’s eyes first. With his help I learnt that beauty, the
essence of every idea I tried to think of. He has this uncanny way of correlating colour
and a theme. My association as a student of this teacher began when he was one of the
random invitees to one of the early group shows and began to share his knowledge. If
he is known, it is for his work. He has much more to offer than one can learn in a
lifetime. He is so devoted to the idea of perfection…one has to constantly strive
towards the next level of perfection is how he puts it. I think such gurus alone can lift
a student from the ordinary to a higher plane.
P A G E 1 1 7
S P I R T U A L I T Y
What message do you have for international audiences about
your work?
I am blessed to be born in a country like India which has a vast
cultural history and tradition to learn from. I love to travel and
explore the rich heritage places, ancient architecture, and
sculptures which inspire me. It is miraculous how the old master
sculptors and painters worked with their limited resources. It is
now difficult to get that beauty in one’s work even with all the
aids available. I'm enriched by the past even as I explore it for the
present. I am intrigued by these beauties and try to portray
through my brush.
I feel artists always depict their suppressed (I must say) feelings
through various forms of art. In search of my own identity as a
woman my exploration led me to my subject of "shakti" or "Devi"
you might call or in other words every woman being a symbol of
benevolence,strength, wisdom, and abundance. My quest for
connecting to higher self and discovering the real purpose of my
life, awakened me to a different form of spirituality in this
creative process. I tend to communicate and meditate through
my works, even through my swirl and chaos of day to day
life..Spirituality which is not bound to specific religion, helps me
to transcend myself to different realms and connect to more
profound levels of consciousness and self awareness. The same
spiritual connection when I depict through brush and colours,
resonates with the viewer universally as well.
V I J A Y A L A X M I
P A G E 1 1 8
S h i v g a m i
S a r a s w a t i i
I attempt to show that the divine feminine is
hidden in every woman who just needs to be
respected and regarded if not revered, worshiped
like goddesses and to celebrate womanhood.
P A G E 1 1 9
S P I R T U A L I T Y
What message do you have for international audiences about your work?
I am blessed to be born in a country like India which has a vast cultural history and
tradition to learn from. I love to travel and explore the rich heritage places, ancient
architecture, and sculptures which inspire me. It is miraculous how the old master
sculptors and painters worked with their limited resources. It is now difficult to get
that beauty in one’s work even with all the aids available. I'm enriched by the past even
as I explore it for the present. I am intrigued by these beauties and try to portray
through my brush.
I feel artists always depict their suppressed (I must say) feelings through various forms
of art. In search of my own identity as a woman my exploration led me to my subject of
"shakti" or "Devi" you might call or in other words every woman being a symbol of
benevolence,strength, wisdom, and abundance. My quest for connecting to higher self
and discovering the real purpose of my life, awakened me to a different form of
spirituality in this creative process. I tend to communicate and meditate through my
works, even through my swirl and chaos of day to day life..Spirituality which is not
bound to specific religion, helps me to transcend myself to different realms and
connect to more profound levels of consciousness and self awareness. The same
spiritual connection when I depict through brush and colours, resonates with the
viewer universally as well.
V I J A Y A L A X M I
P A G E 1 2 0
In spite of all the struggles, the efforts that
go into creating, composing, and executing
the paintings, feel worth it when my art is
appreciated and goes viral crossing
boundaries, in every way. While it is
disheartening to see how enthusiasts
misuse it to recreate under their signature,
it also gives me inner joy of how it has
managed to impact and connect with
people across the globe.
myself through art, and feel content to
pursue it as a career. Just like I followed my
passion I would highly encourage every
creative soul to follow their dreams and do
what they love to do, no matter the
conventions.
No matter the struggle, I love expressing
my
S h i v s h a k t i
S h i v a l a n k a r
P A G E 1 2 1
S P I R T U A L I T Y
V I J A Y A L A X M I
P A G E 1 2 2
Artstation: artistvijayalaxmi.artstation.com
LinkedIn: linkedin.com/in/artist-vijayalaxmi-3a9851185/
Instagram: @artistvijayalaxmi
Art magazine: creativegaga.com/who-do-you-see-devata-or-devi/amp/
Facebook: facebook.com/artistvijayalaxmi
P A G E 1 2 3
S P I R T U A L I T Y
F O U R S E A S O N S
B y K a n a T a k a g i
F O U R S E A S O N S
P A G E 1 2 4
We can experience all four
seasons in Japan because of
its geography. It is an
important part of our
culture to enjoy what the
nature has to offer in each
season because change is
part of its beauty.
F O U R S E A S O N S
P A G E 1 2 6
This piece is displays the Chinese goddess, Guan Yin,
the goddess of compassion and mercy. I used many
references of traditional Chinese tapestries and
Chinese cultural symbols to create the piece.
B y E v a T o g o n o n
I am for what I know 100%
biologically Chinese, but I was
adopted at 9 months old and
raised in America ever since.
Culturally, I am predominantly
American, but I am trying to learn
more about my culture form
where I originate.
P A G E 1 2 7
S P I R T U A L I T Y
G U A N Y I N
M E D I T A T I O N
"The body is a temple.
You are a projection
of love. Love the
Earth, love the air,
love the water, love
the fire. Love the part
of self that is of the
ethers."
F O U R S E A S O N S
P A G E 1 2 8
C o m p i l e d b y
K a t h e r i n e L e u n g
The name Guan Yin is a short form for Kuanshi
Yin, meaning "Observing the Sounds (or
Cries) of the (human) World". Originating in
India and brought to China in the fifth
century, Guan Yin was first worshiped as an
androgynous figure known as Avalokitesvara.
Guan Yin is the pinnacle of mercy,
compassion, kindness, and love.
Many believe that her purpose is to help
people, and that by attuning to her, she will
grace you with her compassion.
P A G E 2 9
Z I N E S T A F F
KATHERINE LEUNG
ABOUT
I'm Katherine and I'm an art teacher and artist in California. I curate two
other zines - Canto Cutie and Dead Dads Club. My favorite places to in Asia
are Kyzyl, Taipei, and of course Hong Kong! I could eat Hong Kong-style egg
waffle for days.
Canto Cutie zine: CantoCutie.com
Dead Dads Club zine: DeadDads.Club
Art: leungart.com
GRACE VO
Hey! I'm Grace and I am a working artist based in Massachusetts. I like to
paint abstractly but I am also into mixed media. I also just launched my own
scrunchie shop called Up&Down where I sell handmade vinatge/thirfted
scrunchies! In my free time, I like to pay animal crossing and cook. I'm a big
fan of a good rainbow roll and a crunchy banh xeo :)
Art: gracenvo.net
Art Insta: @gracevoart
Scrunchie Shop: gracenvo.net/shop
MISHA PATEL
Hey there! I'm Misha and I'm a high-school student based in Tampa. I'm
passionate about the humanities and I've picked up writing over the past few
years! I'm also very passionate about music, and I play violin, along with
snare drum for my school's pipe band. In my free time I love to write, bake,
and play a few good video games.
Instagram: @misha.0811
A B O U T T H E E D I T O R S
P A G E 3 0
THE EDITORS
I’m Sam and I’m a writer, farmer and social activist based in Seattle, WA. I
graduated from The Evergreen State College in 2019 with a BAS in Ecological
Agriculture and Sociology. My love language is leading seminar and gift
giving; and I am permanently craving a taro milk tea. If you can’t tell, I’m a
Taurus.
Instagram: @scaldingwarm
SAM RIEDMAN
I'm Jaden and I'm a high school student based in Massachusetts. I'm a
photographer and musician who occasionally writes poetry and feels
strongly about too many humanitarian issues. I sell handmade earrings and
knit hats when I have time to make them to raise money for various
charities, and I read an alarming number of Webtoons and drink way too
many matcha lattes.
Photography Instagram: @jadenc.photos
JADEN CHEE
hi i'm baotran and i am a linguistics major and film/tv minor at ucla! i am
usually sipping milk tea that i made myself while watching a show or movie
i've already seen 17 times. i can be found with my australian shepherd at dog
parks throughout los angeles. i am always looking to consume more books,
preferably while under a fuzzy blanket as one of my spotify playlists is on in
the background.
BAOTRAN TRUONG
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