Min Wong is a Gadigal-based sculpture and installation artist whose work explores themes of spirituality, consumerism and identity. Her art often takes the form of large scale thought-provoking works that invite audiences to reflect upon eras of spiritual history, psychology and the commodification of systems of belief.
Wong has exhibited widely and recently completed a Masters of Fine Art. In 2019, she was awarded the Sculpture prize for the Ghost Fisher Art Award Prize. It’s clear that her work continues to be impactful within our creative community and the contemporary art world.
In this Colour Box Studio interview, Wong delves into her creative journey discussing how growing up in Sydney, immersed in her family’s diverse cultural and spiritual practices, has inspired her work. She also shares about the process of creating immersive installations for the Adelaide Biennale of Australian Art in 2022 and future projects.
Tell us a little bit about yourself and what you do.
My name is Min Wong and I work and live on Gadigal land. I grew up in Sydney and recently returned a few years ago after living in Darwin for 9 years, Melbourne for a few years and Adelaide for a few years before coming back. When I returned to Sydney I completed a Masters of Fine Arts by research at UNSW Art and Design. I also spent 3 ½ years working as the Communication and Program coordinator at Verge Gallery that is situated at the University of Sydney. My practice is based in sculpture and installation artist and investigates contemporary spiritual practices from the origins of the 1970’s counterculture movement, the Age of Aquarius in California’s shift in conscious thinking through to New Age and the contemporary Wellness industry.
How did you start your creative practice and why?
I started my creative practice during the time when I was working in the creative arts sector as an exhibition designer. I did my undergrad in graphic design and through my working life, I learnt skills in spacial practice, and this led to studying visual arts and developing my installation and sculptural practice.
Where did you grow up and how has it influenced your practice?
I grew up in Forestville in Sydney. My father is Chinese, and my mother was Anglo. My mother was religious and eventually practiced as an Evangelistic Christian. I had the influence of Chinese ritualistic practices combined with Evangelistic teachings and as a young child being involved in both practices. This was the beginning of an inquiry into systems of beliefs, ritual and spiritual practice that was often conflicting and confusing. I have spent most of my life examining this dilemma, living in remote and alternate communities, seeking out substitute ways of living in response to capitalist mainstream and practicing a wide range of alternative approaches to consciousness, psychology, and ways of being. In recent years this has become formalised through my field of inquiry in my art practice.
Tell us about your past creative projects. What has been a highlight so far?
I have held solo exhibitions at Artspace project space, Sydney, Hugo Michell gallery in Adelaide, FirstDraft, Sydney and other national galleries amongst numerous group exhibitions. I was also one of the commissioned artists to present a large scale sculpture at the inaugural exhibition of the recently opened Housemuseum in Melbourne.
The highlights in my art career so far have been one of the participating in the Adelaide Biennale of Australian Art at the Art Gallery of South Australia in 2022 and a solo exhibition with American artist Shana Moulton at Cement Fondu, Sydney. These exhibitions were pivotal in my installation practice as I was successful in acquiring Australia Council and Create NSW funding to produce large scale installations that had components of immersion and sound. The access to funding enabled me to engage fabricators, sound artists and technical experts to deliver a number of site specific works. This opportunity enabled my work to be seen by a diverse national and international audience. At this time, I was also very fortunate to have a Clothing Store studio at Carriageworks which greatly supported my practice and ability to produce these large sculptural works.
Tell us about your current project.
I am currently working towards showing a new reconfiguration of some of these work from previous exhibitions for the Artspace Fellowship that will be held at Carriageworks later this year.
Who or what inspires your creative practice?
I have many influences that inspire my practice which ranges from research into cults, gurus, alternative communities, popular culture, horror films, esoteric books, music, other artist’ practices, speculative future theories, psychology, and my lived experience.
What do you hope audiences take from your work?
I hope audiences can engage in the work and have a conversation with the topics that I investigate. I do not have a particular viewpoint to my work, rather a field of inquiry that I hope the audience can respond to and have empathy with. There are varying experiences that people tell me and visual material that people respond to such as the esoteric books, crystals and the neon text. People respond to the material culture of particular times in spiritual history which is representative of our collective memory and experiences.
What gets you through creative challenges or tough industry times?
Friends who are fellow artists and who are not artists, family, exercise, good food, horror movies and inebriating substances such as alcohol when required.
What future projects are you looking forward to?
I am really looking forward to sitting in my studio and making work experimenting with materiality, casting and image making. And I am really excited to hopefully go on a residency overseas.
Where can we find and follow you online?
minwong.com
Insta: @minnielala
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