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Meet Adrian Kay Wong

Today we’d like to introduce you to Adrian Kay Wong.

Every artist has a unique story. Can you briefly walk us through yours?
I think my interest in the creative world was relatively delayed. When I was young, I harbored a level of technical proficiency and felt no desire to move beyond the type of photo-realistic drawings I was making at the time.

Ultimately, I did it because it was “fun” and came relatively easy to me. It was only through the support of a high school art teacher and an aunt of mine that I decided to take things seriously and apply to art school instead of the original plan of going into Economics for college. In the end, it was my attendance at the School of the Art Institute of Chicago that I realized how small of a worldview I held and, to be quite honest, struggled there with the level of conceptual/academic requirements, the pace of art making, and my own development of a creative practice.

While I think I made a lot of progress during my four years there, as well as two more years of employment under established artists, I really matured in my art after moving to Los Angeles. I didn’t have friends here, I didn’t have a job, but for a number of reasons, I knew I wanted to be here. What this level of isolation allowed for, however, was an intense focus in my creative pursuits and now, five years later, I can say that I’ve reached a point where I’m successfully cultivating a certain sophistication in my work.

Please tell us about your art.
My work consists of primary paintings that present a focused lens on the intimate and familiar. The paintings are distinctively personal through the portrayal of narratives that are often sourced from memory, observation, and my own adolescence. By investigating image-making with a measured eye and calculated motions, I attempt to reveal the elegance of the ordinary and reimagine the everyday.

Often, I may process involves a strong focus on composition. I try to construct forms that are collectively representational but also independently function as interesting abstract forms. By employing an extreme flatness that forces negative space and figure on more equal planes, I can level the attention between primary subject and contextual elements.

I see a lot of the images I express as slices of life comprised of geometric, puzzle-like structures. I hope that viewers can observe the formal qualities as well as the complexities in which they exist together, and then experience how that can insinuate a deeper narrative.

Do you have any advice for other artists? Any lessons you wished you learned earlier?
Personally, I enjoy the independence that required time in the studio brings.

Compounded by the fact that I’m obsessive over how much time I can efficiently devote to making work, my best input is that by making great work, you will meet great artists.

For myself, I was very open to any new opportunities no matter the amount of work it would entail. I believe this type of discipline is a momentum that can create new avenues and, in the end, expand your creative network.

How or where can people see your work? How can people support your work?
In the sense of my entire body of work, almost all of it is on my website at People can also follow the work I’ve completed, am currently working on, and more process-oriented images at my Instagram account. This is probably the best way to keep track of what I’m doing and where!

I feel very privileged to be where I am today so just following my journey is already appreciated. Any interest in purchasing work can be through me or any of my representatives listed on my website. I also release special projects such as limited edition prints so keep an eye out!

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