Today we’d like to introduce you to Aura Xuanyi Wang.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I grew up in Linyi, Shandong, China, a city in the northern part of the country. After completing high school at the age of 16, I enrolled in Qingdao University in China, pursuing a major in Computer Science. However, after a year of studying, I decided to change my path and pursue art instead.
In 2018, I moved to New York and began my Bachelor of Fine Arts (BFA) in Illustration at the School of Visual Arts. During my time there, I discovered a deep fascination for contemporary painting, particularly oil painting. I dedicated myself to learning various techniques and conducting extensive research in this area.
Following the completion of my undergraduate degree at SVA, I continued to explore and experiment with different artistic media, constantly honing my skills. Currently, I am teaching and pursuing a multidisciplinary Master of Fine Arts (MFA) program at MICA.
We all face challenges, but looking back would you describe it as a relatively smooth road?
I have faced a few challenges along the way, but I value the experiences I’ve had. I pursued Chinese traditional art and calligraphy from a young age, earning multiple national and international awards. Despite my achievements, there is still pressure from my family regarding my career choice. This is why I initially pursued computer science.
When I first moved to the US, I encountered language and cultural differences that posed challenges. Moreover, I discovered the presence of Chinaphobia, influenced by the political environment and the ongoing COVID-19 pandemic. The internet often portrays negative aspects of Chinese culture.
Additionally, transitioning my focus from illustration to painting has not been easy in my career.
However, through my research, I realized that becoming a painter requires extensive reading on philosophy, history, and culture. It is a lifelong commitment to continuous learning and growth as an artist. Illustration serves a specific purpose, aiming to deliver precise information. On the other hand, painting emphasizes the act of painting itself, exploring open subject matters that can evoke diverse interpretations among viewers.
Can you tell our readers more about what you do and what you think sets you apart from others?
My art discusses the relationship between the physical body, the psyche, culture, and society. My paintings dissect the biases of the physical body, self, and collective memory to examine humanity and civilization.
I explore these ideas through the depiction of human anatomy, organs, religion, and sexuality. This creates a liminal space where fictional characters are reborn with endless vitality, prompting viewers to question their perceptions of the body and ego. I aim to inspire individuals to reassess their understanding of the body, psyche, and society in contemporary Western-dominated culture.
As a young Chinese woman living in America, I am inspired by the fusion of Western and Eastern cultures. Growing up in a conservative Chinese background, I experienced a society that strongly emphasized predefined individual roles and behaviors. These archetypes and gender roles were upheld to ensure the continuation of the family legacy carried through a sense of biological immortality.
As I faced illness and death within my family from a young age, I found myself captivated by scans and slides of the body and its parts, observing them as if I were a spectator unto myself. In my work, I envision an energized spiritual realm that transcends physical, racial, and hierarchical limitations. In this space, the concept of immortality intertwines seamlessly with the very essence of life, composing a harmonious, boundless image.
In my work, I integrate Gilles Deleuze’s concept of the body without organs, Carl Jung’s theories on the collective subconscious and personality, and the Buddhist concept of emptiness. Together, these many theories converge to enhance my understanding of the human experience.
I define the body as both a receptor and a self-imposed cage. The physical body splits the psyche from the material world into separate dimensions. The body is the outer truth — a material projection — and the psyche is the intangible, inner truth.
From a young age, I practiced Chinese ink-wash painting and calligraphy. Ink-wash painting captures the impression of objective truth through brushstrokes, while Chinese calligraphy uses written characters to express subjective perspectives and evoke emotional reactions. My current research combines Western and Eastern styles of abstract painting. In my piece Blackmoon, I integrate my understanding of traditional Chinese brush technique with Western oil painting.
Through the use of surrealism and symbolism, it evokes ambiguity. In my work, I blend realism and expressionism. This exploration allows me to delve into the complexities and contradictions of universal human existence.
What sort of changes are you expecting over the next 5-10 years?
I envision myself having a greater presence in the art world, both in the United States and internationally. I would like to be an established gallery artist. As I continue to evolve, I will remain dedicated to expanding my horizons and continuously learning.
To me, the essence of the fine arts industry lies in its ability to build bridges between people of diverse cultures and backgrounds. It serves as a powerful conduit for connecting emotions and fostering mutual understanding. With this in mind, I am committed to making art accessible to all.
Contact Info:
- Website: www.aurawang23.com
- Instagram: @aurawang_
Image Credits
Dooree Kang (Featured photo)
