Today we’d like to introduce you to Vivien Ebright Chung.
Hi Vivien, thanks for joining us today. We’d love for you to start by introducing yourself.
I was raised in Santa Cruz; where the redwoods meet the sea, beginning a connection to the sensations of the natural world from the very beginning of life. I was always drawing and painting as a child, it was a talent that was really encouraged since most of the adults around me were creative as well. My mother sewed a lot and I soon got very interested in the intersection between the world of fashion and fine art, sculpture and bodies, sensuality and commerce. I studied fashion at California College of the Arts, where the program allowed for interdisciplinary exploration in the painting department, where I studied with Linda Geary who suggested I switch to her department.
At that time I felt that painting was too much of a challenge for me emotionally, a place for introspection that I wasn’t ready for at 20. I stuck with the costume and fashion world for close to a decade, it wasn’t until after having kids in my late 20s that I realized painting was an essential aspect of myself and my creative process. I think the sojourn away from painting allowed for the gathering of experience that now enriches my work as a painter and makes it more precious to me. Similarly, my work as a curator brings new perspectives to my own way of working and seeing, building on thoughts and relationships outside of my immediate interests.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
The fear of poverty was a major struggle in my decision to pursue painting. Growing up, we had very little money and I thought I wanted a job that would be a little more financially stable. Painting ended up being something I couldn’t stay away from, I think if you love painting you always feel a nagging sadness if you aren’t painting, it’s something money can’t replace. I also discovered painting can be a viable way to support oneself, with some persistence.
Having children fairly young and before establishing my career as a painter has been challenging. Painting is a consuming endeavor, it requires some juggling to get enough time in the studio or to get to the studio at all. I’m still figuring out how to balance that, however I think most parents struggle with their personhood within the role of being a caregiver, it’s not unique to being a painter.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’m an oil painter, curator, costume maker and performer. My work has a throughline of improvisation and physicality. My practice is driven by sensorial and sensual awareness and sexuality as it relates to art history. I’m eager to address the timeless qualities of the human experience, the evocation of scent and touch, decay and the sublime. I bounce between figuration and abstraction, both as a painter and a thinker.
I recently started a gallery project called Seated Horses, the program is focused on artists whose work utilizes ephemera, assemblage and found objects. Work which feels fragile, transient, out of time, almost like relics of a future post-apocalyptic utopia or ancient Eden. My curatorial work drives my practice forward, it provides a feeling of community and a playful competitive spirit amongst my peers. Curatorial contemplation also engages the art world in a dynamic way and addresses the very important role collectors serve in the life cycle of painting.
We’d love to hear about how you think about risk taking?
I take many risks in both my practice and daily life; pursuing new ways of seeing and connecting in spite of uncertainty. In moments of chaos, I’m driven forward and must confront my own shortcomings or limitations.
Artists are always taking a risk just by putting themselves out there in a vulnerable and potentially humiliating way. Every painter runs the risk of making mountains of paintings that are never seen or are ignored. It’s a risk most of us are willing to take in the pursuit of something so life-giving and essential to our psyche. Painting gives depth and life to society, but in a very intangible way that requires a leap of faith.
Contact Info:
- Website: vivienchung.com
- Instagram: vivienpaints
Image Credits
Paloma Dooley- two images. “Chase Me” and “Thomas Macie full install shot” All others by Vivien Ebright Chung
