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HS: Hello. Today is August 3rd, 2023. HS: My name is Hannah Son, and I'm here today with Mr. HS: Loc Huynh on behalf of the Houston Asian American Archive at Rice University. HS: Mr. Huynh, can you please state your full name and place and date of birth?

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LH: Yeah, my name is Loc Huynh—born LH: in Austin, Texas in 1992. HS: Wonderful, thank you. HS: And so, to start, how would you describe the neighborhood in Austin you grew

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HS: up in? LH: Yeah, the neighborhood that I grew up in, like, up until, like, LH: fifth grade, I would describe it as relatively diverse. LH: It wasn't too far from the city, so I had li—and

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LH: we had—there was, like, actually, like, a lot of, kind of, like, first generation, LH: like, immigrants, like, kind of living in our neighborhood as well, so—kind of, like, LH: especially in Austin at the time, like, you know, help kind of make us feel, like—I LH: guess, my family feel, like, not as alone.

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Because—yeah, actually growing up in—actually from, like, my preschool year through my fifth grade year, we–we weren't, like, the only, like, Vietnamese—we weren't even like the only Vietnamese, like, family in our neighborhood.

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That didn't change until I, like, moved to a school and city, like—and it'd be generous to call it a city. It's more like a town, like, honestly, just like 30 minutes north of Austin, and then we instantly became, like, the only Asian people within that

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city, so, yeah. I feel like I got a strange kind of like both–like both worlds in terms of, like, my upbringing in Austin, where it's like living closer to the city and stuff, it's like—so like, you know, so

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like, it wasn't a big deal that I was, like, the—that I was another, like, Vietnamese kid. And it's like the further away I moved from the city I was like, "Oh, I'm like the only Asian person here in, like, my class." So—

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HS: Right. And eventually, once you were kind of more isolated from a Vietnamese HS: community and an Asian community, did you still celebrate the holidays or, like, HS: traditions within your family? LH: Oh, yeah. Like, luckily there was, like—we—there was,

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LH: like, a small temple in that town that a LH: few other, like, Vietnamese and Buddhist families LH: would go to from, like, the other small, little LH: towns. But yeah—we still celebrated

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LH: things and did things, like New Year's and stuff like that. LH: But it became a little, like—again, became, like, LH: I became very aware that it's, like, especially in that small town that was, like, LH: "Oh, I kind of took this for granted or, like,

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LH: these things for granted, because now we're like the only family that does these things." LH: [unintelligible] Like, demographic of, like, that LH: small town that I spent, like, my—I would say relatively formative years in. LH: Like, my middle school through, like,

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LH: late teens, I think that was. LH: Yeah, I think. LH: I was, like, the one—like I was the–the one Asian person in, LH: like, a lot of spaces.

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LH: So, feel like becoming more isolated made me definitely kind of, like, made me LH: aware of, like, the–the racial, like, the racialization LH: of, like, my identity. LH: Especially when other people kind of, like, make it very aware to you.

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HS: Right, right. HS: And so kind of talking about your early educational experiences both in elementary HS: school and in that middle and high school, if you'd like to share what schools you HS: attended for the archive, that would be great.

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HS: But then also, were there any teachers or experiences, whether academic or HS: non-academic, that inspired you or that were particularly influential to you? LH: Yeah, sure. I can share all that. LH: Like, in e-elementary school, I went to Pond Springs Elementary, which again, it

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LH: wasn't, like, in the city, but it was, like, near enough to the city and kind of a bit LH: more metropolitan. LH: Yeah, and I don't know. LH: I didn't really have a lot of teachers that were, like, super, like, encouraging or

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LH: anything. Just because, like, I mean, the town I grew up in like, no one knew, LH: like, someone that was, like, making art or doing art as, like, a job. But if anything, I did have, like, one art teacher in high school, Mrs. Brechin, who actually was, like—she—I don't

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know. She was, like, the first person that, like, saw potential in me and told me like, "Yo, you can actually do something with this." Or like, "you can actually, like, go to college for drawing, you know that?" And again, that was, like, mi-that was mind blowing for, like,

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teenage me. But yeah, I'd say, like, she was maybe, like, the one teach—like standout teacher that was like, "You can actually be—" like, I feel like that's encouraging. HS: That's wonderful. And so, kind of along with that, do you have a clear

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HS: first memory of you becoming interested in art? HS: Did you draw and paint growing up? LH: Yeah, I mean, growing up, I was always–I was always drawing as LH: a kid. And, if anything, it's like, I knew how to draw before I could write.

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LH: So, I think I always knew I wanted to LH: do something creative, and I never really figured out, LH: or—how to articulate it until, like, much later in life as like, "Oh, just LH: want to be an artist." And I think that's something that I always wanted to be but

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LH: never figured out how, because you're supposed to have realistic LH: dreams and aspirations [laughs] instead of being an artist, but yeah. LH: I guess I always LH: wanted to be an artist in some capacity.

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HS: And did you have particular creative inspirations growing HS: up? We see that a lot of your work seems to center family life and HS: nostalgia and cultural markers. HS: But in addition to this, whether in media or your own life experiences,

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HS: kind of, what informed your creativity at that age? LH: Oh yeah, no, sure. LH: Cartoons, definitely. LH: And comic books, for sure.

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LH: Like, those are kind of like—I think LH: those are, like, my first exposure to something, like, kind of artistic. LH: And it's like, I still go back and, like, watch cartoons that—rewatch cartoons that I LH: watched as a kid, just to pick up on some nuances and kind of appreciate the,

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LH: again, the creative, like, fortitude that went into, like, LH: cel-drawn and hand-drawn cartoons. LH: I feel, like, as a kid, I think I took that for granted that it's, LH: like, "Oh, this is just the way that cartoons are gonna be forever." Now, you'd be

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LH: hard-pressed to find, like, hand-drawn cartoons anymore. But, again, it's like I have a love for, like, graphic stuff like that. Trading card art as well. Like, I've collected and played a lot of Yu-Gi-Oh and Pokémon

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cards. And I think, 'cause, like, especially with Pokémon cards, there was, like, a lot of cool artistry with those, and I felt like I got exposure to, like, illustration through, like, the illustration on those cards and what different types of illustrations.

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'Cause all the Pokémon card illustrations are done by, like, a bunch of different artists and stuff. So, it was cool to see like, "Ah, this person's take on Pikachu could be this cool little claymation-looking thing, and then you have the original watercolor

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drawing." Yeah, kind of like, lately this body of work I've been doing, like, I've been kind of combining, like, those interests of, like, the graphic—kind of graphic language and then kind of, like, using it

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alongside with family photos as well. Like, a lot of depictions of family that'll, like, influence my work and kind of, like, reflecting back on that nostalgia. And kind of, again,

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it seems off tangent, but it actually does relate to where—but [laughs] I remember having a discussion with a friend one time and telling them about how it's like, I didn't see ET until I was, like, 16 or something. Because you know, I didn't grow up with American classics, or my parents didn't

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show me things, like, the Beatles or something, as, like, a lot of fam—a lot of people's, like, first, like, production of music. So, yeah, it was like having that discussion with my friend made me realize, like, "Oh, I didn't, like, have, like—I had, like, a

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strange, like, approximation of what the American upbringing was because my parents were learning how to be American for the first time too." So, lately I've been making paintings about, like, that, and how I feel, like, it's kind of like a strange, kind of overlooked, like, aspect of

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being Asian American is that your parents, like, are learning how to—if you come from, like, an immigrant family, your parents are also learning how to be American as well. So, I thought it was kind of, like, an interesting thing to kind of record and kind

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of make these things. HS: Yeah, I definitely think that's really relatable coming from, like, the immigrant HS: background. And you mentioned HS: being influenced and inspired by cartoons and comics as a kid.

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HS: Did you have any particular favorites that you'd like to share? LH: Yeah, like growing–like growing up, like Ed, Edd, n LH: Eddy was, like, my favorite cartoon. LH: I loved the Bruce Timm, like, Batman animated series.

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LH: Like, and then learning about, like, the artistry of that show, I felt, like, as an LH: adult, it was, like, definitely rewarding. LH: Like, how, like, all the drawings are done on black paper with colored pencil to kind of LH: give it a, kind of noir look.

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LH: What else? Oh yeah, anything that Genndy Tartakovsky does is–is LH: always great. Like, he did Samurai Jack, Powerpuff Girls, Dexter's Lab. So, like, I love all those shows, and [unintelligible], I obviously, like, love, like, trading card stuff like

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Yu-Gi-Oh, Magic, the Gathering, like, Pokémon cards. Like, all those were like an obsession at some point in my life. So, I enjoyed, like, having cards and collecting cards. To me, always seem as kind of like a—almost like a little mobile gallery in a

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way, just because each piece can be, like, different illustrators and stuff. So, I don't know. If not playing cards, I always enjoyed, like, looking at them, the physical little objects they are. Yeah, there's

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too many to name that coming at a loss right now, yeah. HS: Amazing. Thank you for those. HS: And then, outside of artistic influences alone, can you share just a HS: general favorite childhood

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HS: memory? LH: Yeah, I just—I remember, you know, LH: I remember a vacation at the beach in, LH: like, just, like, the Mustang Islands or, like, Corpus and stuff.

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LH: And it was, like, one of the first times that LH: my grandpa was, like, teaching us how to fish and stuff. LH: And yeah, I remember we were all LH: night fishing, like, on one of those piers there.

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LH: And I think, yeah, that was, like, the first time I caught a fish on a pole. LH: Like, doing something with LH: saltwater fishing. Yeah, I think that's a, like, fishing with my grandpa. LH: Like, one of my, nice kind of one of my favorite memories.

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HS: That's wonderful, thank you so much. HS: And then moving on to talk about your education a little bit, I HS: see that you earned your Bachelor of Arts degree at Texas State University. HS: [LH: Mm hmm.] Can you share about your undergraduate experience there?

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LH: Yeah, I feel like I didn't have, like, the conventional, like, LH: path to, like, getting, like, my degrees or, like, an education because, like, after LH: high school, I actually went to community college LH: for, like, a bit.

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LH: But I didn't take it all too seriously and even, like, dropped out for, like, a year and LH: a half. And I was relatively, like, directionless LH: until I was—figured it was like maybe—I was getting tattooed a lot at the time. LH: And I figured it's like, "Maybe I'll become a tattoo artist." You know.

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LH: "This could be a way to be like an artist and maybe not so LH: much have to go back to college." But I started LH: kind of like apprenticing and hanging out at a tattoo shop. And then, like, the more I talked to these guys, the

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more I realized that, like, "Oh, they value an education, so maybe I should too, because the owner of the shop has his, like, Master's degree and stuff like that." And so, it was kind of, like, with the encouragement of, like, these guys at a tattoo shop, I was talking about how, like,

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"Yeah, maybe I should—" like, I was thinking about, like, maybe, like, possibly going back to, like, get a—finish my degree and stuff. And yeah, it was with the encouragement of the guys at the tattoo shop and even one of the guys recommending the program at Texas

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State. Yeah, I went back to school for my–for my degree in Fine Arts, paint—with a emphasis on painting. I initially was going back for like graphic design, but then I,

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like, took a painting class and got—like, changed everything. Like, I switched over to painting after, like, having a class with a really awesome professor. And it was, like, from there that I, like, started considering like grad

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school, which hadn't been on the–which hadn't been on my radar like just a few years back and anything like that. And yeah, that's how my undergrad experience happened. HS: Did you find that having formal training, especially in an academic

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HS: setting, was helpful in developing style, or I guess, technical skill, HS: discipline, things like that? LH: Oh, yeah, like all–like all of that. LH: Like, I learned a lot of things technically.

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LH: I learned a lot of things formally. LH: I learned a lot of things conceptually. LH: It was like, yeah, it was like the first time that I was, like, LH: I guess—like, art has always been fun and something kind of, like, I've always done,

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LH: but it was, like, just something else to see. LH: It's like, "Oh." It's like—it's—again, people LH: are taking like, art, like, very, very seriously. LH: So, I've got to step it up and take it seriously as well.

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So, yeah, it was like, the first time being around people who like took this stuff seriously and, like, again, like, want careers as artists. So, it was kind of refreshing to be around and even have, like, just the conversations about art and stuff.

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'Cause for a long time, it's, like, the art thing that I did was—I was kind of, like, doing it in solitude. And none of my other friends were really into, like, making art or anything. So, going to college, like, definitely kind of,

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like, helped surround me with, like, people with similar aspirations, which again, being around—being surrounded by people, like, who have like a drive, like, also I feel, like, was very encouraging. Makes you want to, like, do, like, do it as well.

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HS: Yeah, it's definitely really cool to hear about finding that sense of community in HS: college especially. Were there any specific groups HS: or even classes, like the painting class you mentioned, or professors or mentors during HS: your undergrad, do you think, that left an especially strong impact on you?

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LH: Oh yeah, for sure. LH: Like, one professor I feel that's, like, been LH: like—that's been the most impactful, and it's, like, we still—and we're still, like, LH: friends and all to this day, is Tommy Fitzpatrick, who's, like, a great guy.

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LH: And, like, I don't know. LH: He was one of the very kind of, like, first people, like, who—like—and LH: along with Ms. Brechin that showed me that, like, there's, like, a life that you can have LH: with art. Or, like, art can, like, do this for you

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LH: or, like, it'll open—it can open, like, so many doors. LH: And yeah, it was, like, really great LH: being under his tutelage and learning so much stuff from him, and LH: yeah. The community that

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LH: I gained overall, like, at Texas State, like, I'm definitely grateful for. LH: Like, all my friends I met there, like, still some of the, like, the best friends LH: I've had to this day. LH: For sure, like, I feel like,

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LH: yeah the—think they're [unintelligible] like, some of the most impactful LH: parts of, like, my education over at Texas State, for LH: sure. HS: And then, you also completed your Master's of Fine Arts at the University of North Texas, I

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HS: believe, in 2020. [LH: Mhm.] Could you share a bit about your decision to pursue HS: the MFA and attend UNT specifically? LH: Yeah, for sure. LH: Well, getting my—like, I knew I wanted my Master's degree

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LH: after, like, completing my BFA. LH: So, I applied to a bunch of programs LH: and got—I got into a couple. LH: And I actually didn't start off my

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LH: MFA at UNT. LH: I actually transferred over. LH: I was in a different MFA program prior to that, and it was LH: at the University of Nebraska in Lincoln, and I did a

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LH: semester there. LH: And, you know, it's not that it's a bad school or anything or a LH: bad program—like anything, it's, like, it's great. LH: They have good people.

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Just sometimes, like, you're not a right fit for a program. And I was also feeling, like, a little homesick for Texas being in the Midwest. So, I figured I was gonna start looking for, like, a Master's degree programs in Texas.

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And one of the places that I was really impressed with was UNT. So, I applied. I got in. And yeah, I'd say it's—grad school is definitely one of the hardest things I've ever done, but I'm also glad that I

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did it. I felt like I learned—like, I thought I learned—I thought I knew a lot, like, after finishing my, like, BFA, but going back—going and continuing my education and going to grad school definitely, like, humbled me and definitely made me realize that, like, this learning thing never ends.

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[laughs] HS: Yeah, I'd be curious to hear a little bit more about what the MFA program at UNT was HS: like in terms of, I guess, the size of your cohort and also just, like, rigor HS: of the program.

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LH: Yeah, the UNT program was—it LH: was a very—sorry, there's a plane. LH: Yeah, the UNT program was very definitely kind LH: of—there was a lot of emphasis on research.

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LH: So, I felt like that kind of helped–that kind LH: of helped me, kind of, figure out how to, like, talk about my work and help me kind of LH: articulate, like, the importance of certain aspects of my work, for sure. LH: So, there was, like, definitely—there's definitely a lot of reading, which

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LH: I appreciated as well. LH: 'Cause again, just going along with the research definitely did things like LH: had me flex my thinking muscles for sure and kind of made me, like, LH: again, re-examine what I was making art-wise and kind of

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LH: also helping me to articulate LH: certain moves and certain things that I did, art-wise. So, I did appreciate the UNT, like, program for, like, end up forcing me out of my comfort zone for sure.

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Even with things like teaching, because us grad students have, like, the option to, like, teach as a means of, like, helping—kind of like, almost, like, financial assistance for, like, grad school. And that teaching was a–was a very harrowing experience,

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to say the least. But—just 'cause they, like, threw us into the fire. But I felt like I learned a lot in that as well. Like, I learned, like, ways on how to communicate better, how to get my point across with people.

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Also, how to be direct as well, so again, it's like, UNT provided me that opportunity. I'm grateful for that as well. And yeah, I came in to a

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rel—decently-sized, like, MFA class. I—yeah, I had, like, a bun—it was really cool though. Just 'cause, like, I feel maybe some programs, like, each department

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can get, like, maybe a little cliquey. But with UNT, we all kind of like, hung out with each other in terms of, like, all the ceramicists and the painters and sculptors and stuff. It's like there's—like, we'd all just hang out with each other and not in our own like,

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departmental worlds, which is kind of cool. Yeah, like, maybe like a—it was, like, 30, 24 people in, like, my graduating class or something like that. But it was—maybe even 40, I don't—I know it was a very decently-sized

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program, which helped. And there was a lot of, kind of, cross-interdisciplinary classes too. Like, I've taken, like, a class on, like, performance art and stuff like that, which was very interesting.

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Yeah, like I said, it was definitely one of the hardest things I've done. Especially since I feel like, during grad school, it was like the first time I learned, like, what imposter syndrome was, so, yeah. But, I mean, like I said, I'm glad that I went.

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And yeah, my experience at UNT—definitely learned a lot. HS: And did you get to kind of engage with the Denton art scene while you were there? LH: Yeah, I kind of, like, engaged a bit with, like, LH: the Denton, kind of, like, art community a bit.

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LH: I kind of treat it, like, the—while I was up there, I kind of treated, LH: like, the DFW as kind of like one big, like, art community. LH: So, I got to meet people from like, not only just Denton, but like from Dallas and, like, LH: different parts of Dallas and also, like, Fort Worth and, like, Arlington

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LH: and stuff like that. So, yeah, it was definitely, LH: like—it was really cool, especially since I learned that there was like a lot of LH: other MFA programs in the DFW. LH: So, it was cool getting to meet, like, other MFA students and stuff like that and getting

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LH: kinda, like—have, like, conversations about, like, LH: again about, like, art and similar practices and stuff, even though, there's like—we LH: all go to, like, different schools and stuff. LH: So, yeah, like, the community even expanded, like, outside of the

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LH: college for sure. HS: That's awesome. And would you say that your artistic HS: style solidified or changed at all throughout all of your college HS: experience?

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LH: Oh yeah, absolutely. LH: Like, the work I was making in undergrad is totally different LH: than the work I was making in grad school. LH: And even now, like, after graduating, work I'm making now is

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LH: totally different from, like, my grad school work. LH: But I don't know, like, I feel like with all artists though, and I feel like LH: maybe I'm biased because I can see it myself. LH: I do see kind of, like, where things lead to where,

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LH: like—–but I think kind of, like, the thing that remains in LH: all of them is, like, this interest in, like, graphic and cartoon LH: kind of, like, visual languages, if anything. LH: But they're just translated in different ways.

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LH: So, yeah, it's been kind of—I don't know, I get–I get, like, a trip on it just to see, LH: like, what my work was like, like, five years ago and stuff just because LH: it's—again, I feel like it's wildly different. HS: Yeah, and then along with that, shifting to talk more about your career a bit.

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HS: I saw that your work has been featured in a number of solo exhibitions and HS: residencies, as well as some international group exhibitions. HS: So, can you share what your first experiences of having your work displayed in HS: galleries and exhibitions were like?

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LH: Yeah, for sure. I—yeah, I first started showing LH: galleries when I was living in Denton and going LH: to grad school. LH: And that's another thing I felt, like, was really cool about DFW.

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LH: It kind of like—there's–there's actually, like, a lot of galleries up there and LH: a lot of museum institutions, so it gave me kind of, like, a nice way to, like, LH: network and meet people within kind of that world. LH: And yeah, I first started showing at a gallery in Dallas.

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LH: And yeah, I was just doing, like, small—I was just doing, like, group LH: shows and kind of putting work in, like, three-person LH: shows and stuff with this gallery. And then one day, they sold to a

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really awesome collector who had friends and connections in LA and New York. And from there, that kind of spiraled into being able to work with a few different people.

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And then that led to like a show—a solo show in New York that same year. I was reached out by the–the director of curation at the Blue Star Contemporary—it's called

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Contemporary Blue Star now in San Antonio—to have some works in a show there. Then prior to that, I was in a small group show in New York, at—but it was at

00:30:07.890 - 00:30:29.160

the university—it was at the Academy of Fine Arts in New York. And I guess it got seen by some of the right people, because the–because the—some of the writers that were on Juxtapoz, like, reached out to me and told me that they were, like, impressed with the work and

00:30:30.950 - 00:30:47.840

would be in touch soon, so. That also led to, like, that weird thing kind of also led to, I guess, getting an article slash writeup in Juxtapoz as well. And this all kind of happened within, like, a year,

00:30:48.130 - 00:31:05.820

like, all within, like, [2021] which was kind of, like, hectic. Because at the same time, I had just spent, like, a semester out of grad school, and I wasn't sure where I was going to go after that. And I figured, "maybe I'll just adjunct a little bit." Because at the time that's what

00:31:05.820 - 00:31:22.110

I was doing. I was adjuncting and working at a museum as a guard. Then, like, all this stuff, like, happened within, like, the span of, like a month. Like, that's when it was like—I got that thing about,

00:31:24.500 - 00:31:41.270

like–like, having the show at Blue Star and then, like, talking to the gallerist in New York. And then also, like, I got a call about doing a residency here in Houston, and it was, like, all just one—like, at the

00:31:41.270 - 00:31:55.670

Lawndale Art Center. And it was all, like, just, like, "Wow, all this stuff is happening at once." It's, like, it's all good, but it's, like, it's a little stressful. So, I don't know. But yeah, it kind of happened, like, all at once, but also

00:31:55.700 - 00:32:08.110

in kind of, like—I don't know. It didn't feel like it at the time, but it was actually, like, pretty good timing. HS: Yeah, that definitely sounds like a little bit of HS: an overwhelming timeline, but it is really impressive.

00:32:09.710 - 00:32:26.230

HS: [LH: Yeah.] And then more recently, I believe it was last summer at HS: the—or, this past summer at the Inman Gallery that your show Western Bootleg HS: was showing. Is that correct? HS: [LH: Uh-huh.] So, that plays really heavily with Texan and Western imagery.

00:32:26.340 - 00:32:40.110

HS: And I've read a lot that characterizes your work as kind of subverting Western HS: influences and then also bringing in your Asian identity as HS: an intersectional element. HS: Would you say the same about your work?

00:32:40.150 - 00:32:51.350

HS: Is that something that you kind of intentionally try to bring HS: out? LH: Oh, yeah, no, for sure. LH: Like I definitely do try to, like, be more aware(?) that it's like

00:32:51.960 - 00:33:10.560

LH: my work exists as, like, a–a hybrid LH: chimera of, like, different cultures for sure. LH: Like I'll, like—even in things like—like I was saying, like, LH: make—like, recently I've been making, like, works based on, like, photos and stuff of,

00:33:10.630 - 00:33:29.480

LH: like, my upbringing and, like, family life and stuff. There's still, like, that aspect of, like—of the intersectional in those works, just because they're documenting, like—we had that discussion about how it's like my family's, like, strange approximation of what America

00:33:29.480 - 00:33:47.430

was, but still kind of, like, clinging on to, like—still holding on to, like, aspects of, like, the old world and stuff. Like, that all exists in those kind of grounded, more "realistic" works as well. Yeah, it's just—with the Western Bootleg one, that–that show,

00:33:47.430 - 00:34:08.240

that body of work, it's like that intersectionality is, like, kind of, like, at the forefront and on display through kind of, like, the imagery fusion of, like, these different kind of Eastern and Western tropes. HS: That's so cool. [laughs] And I also saw for Western

00:34:08.710 - 00:34:22.100

HS: Bootleg you worked more with, like, mixed media. HS: Can you talk [LH: Yeah.] a bit about your process in working that and selecting HS: materials? LH: Yeah, for sure. Initially, like, the

00:34:22.100 - 00:34:39.330

LH: show was gonna be, like, all painted. LH: Like, I'm just—I was just gonna, like, paint over imagery and all that. LH: But I—I one–one LH: day, I think I was just, like, look—just kind of, like, looking at, like, the fur

00:34:39.330 - 00:34:55.400

LH: on, like, those lion costumes and—on, LH: like, on my phone and stuff. LH: And, like, I was also, like, watching videos of, like, these families that, like, LH: make the lion dance, like, costumes and stuff and how it's,

00:34:55.400 - 00:35:11.880

LH: like, becoming a very seldom, kind of, like, handmade craft. LH: And yeah, it was kind of like just watching them, like, pack—put these things together LH: and, like, tuft the fur and stuff. I was like, "Oh, well, I'm already kind of, like, painting one of these things.

00:35:12.420 - 00:35:31.180

I feel like I can, like, just add the fur as, like, a painted mark or like, treat the fur like a painted mark or, like, somehow incorporate the fur into that." And yeah, that kind of led to, like, incorporating different sorts of media. Like, incorporating things like flowers I got from, like, the

00:35:31.560 - 00:35:46.340

Hong Kong market or Daiso and stuff into, like, the paintings. Or, like, even using things to create a sense of texture, like, using, like, a mesh laundry basket and just pouring acrylic paint over it to make it look like snakeskin or something like that.

00:35:48.860 - 00:36:07.860

Yeah, it was, like, the material exploration for sure. Definitely gamed (?) out as like a curiosity, but also, like, to make the paintings—kind of give them a very int—give them an interesting presence, other than just kind of like paint onto, like, a

00:36:07.860 - 00:36:25.070

canvas. I always try to give my paintings, like, something. Like, another layer that makes them, like, even more interesting to look at. Or, like, you have to walk around them to kind of look at them, which is why I like using things like iridescent, reflective paint or like pearlescent paint

00:36:25.130 - 00:36:46.490

because it transforms what the painting looks like at every angle. So, yeah, I'm always about what I call, like, "visual gimmicks." And I have this ongoing joke where it's, like, I tell people, it's, like, "Yeah, I just want to make a painting that's–that's a pain in the

00:36:46.490 - 00:37:05.910

ass to, like, photograph." [laughs] HS: This summer, I believe your installation at Meow Wolf in Grapevine also HS: opened. [LH: Mhm.] Could you share what it was like to prepare for and really HS: cultivate that physical space, especially with Meow Wolf being such a beloved

00:37:07.090 - 00:37:22.550

HS: place with so many different locations across the US? LH: Yeah, of course. LH: That was a—that was, like, if anything, that was, like, years in the LH: making as well. I guess I can share this now since, you know,

00:37:22.640 - 00:37:39.360

LH: they've opened it to the public and stuff. LH: But yeah, they reached out to me also back in 2021, which LH: again just made that year, like, very, like, chaotic with, like, all the stuff that was LH: happening, but said it was like awesome that any of that was happening at

00:37:39.400 - 00:37:55.510

LH: all. But yeah, they reached out to me then. LH: And then it was just kind of, like, years planning and prepping, finding, like, the LH: right material and color and kind of just coordinating with them. LH: It was—and they were, like, super helpful, so it was,

00:37:55.540 - 00:38:10.560

LH: like, yeah, especially helpful with me walking through, like, this LH: as like—I've helped out with murals and stuff before, LH: and I've done, like, a couple but not exactly very versed in murals and LH: stuff.

00:38:11.510 - 00:38:33.340

But they were super helpful in kind of like helping me get this vision that I had in my mind for, like, the last couple of years into reality. And yeah, they were super accommodating with, like, the murals and the—even installing, like, some of the elements because I have, like, some, like,

00:38:35.030 - 00:38:53.900

interesting shape—fabricated furniture in the installation as well. Yeah, it was a–it was a really cool experience overall, I'd say. Like—and I definitely learned a lot as well since—it being my first installation, I had no idea what all was possible

00:38:54.600 - 00:39:07.930

and entailed—and what all it entailed. They gave me a lot of—that being said, they gave me, like, a lot of freedom, though, to do what I want. At the same time, it could be, like, a little paralyzing. It's like, "Oh, I get to do what I want?

00:39:09.710 - 00:39:26.140

So, I need to think about that." [laughs] But yeah. No, it was really cool. HS: And you shared with us about what you're currently working on with the project—with HS: your family photos and the kind of graphic style, which sounds really exciting.

00:39:26.880 - 00:39:45.520

HS: Do you have any particular goals or things you would like to work towards HS: in your career, whether long term or coming up that you'd like to share? LH: Yeah, I'm gonna be attending a residency coming LH: up in May and June of next year.

00:39:47.260 - 00:40:02.240

LH: But yeah, right now I'm just currently working on, like, that series of paintings LH: that I was telling you about. LH: I'm also working on a series of paintings that are portraits as well. LH: But, [unintelligible] I had any goals, it would be to, like—yeah,

00:40:06.900 - 00:40:27.000

LH: just to be able to show this LH: body of—these bodies of works in LH: somewhere. Yeah, just—yeah. LH: I guess another goal of mine would be, like, just to kind of keep going at this as a

00:40:27.110 - 00:40:40.840

LH: full-time artist. 'Cause this is the—–my second year as a full-time artist and LH: it's, like, I feel like I'm still, like, learning. LH: I guess I always am. And it's been helpful to talk with friends about, like, doing this LH: full-time artist thing.

00:40:40.840 - 00:40:53.670

Just 'cause, like, I don't know. I feel like we're doing, like, what people said shouldn't be possible, but it's also, like, so—also one of the hardest things I've done. But it's also one of the most rewarding, for sure.

00:40:55.240 - 00:41:12.950

But, yeah, no, it's like a—I'm just going to be—yeah, I'm just working on paintings. And I got like a couple of, like, group things, like, in the—like, throughout—like, little group exhibitions kind of throughout as well,

00:41:13.080 - 00:41:28.750

like, that are going to be coming up. So, it's—yeah. Yeah, nothing super, like, concrete yet but—other than the residency—but right now, it's, like, just kind of working on

00:41:29.720 - 00:41:46.760

the—just working on those bodies of works and kind of exploring, like, further themes of this kind of idea of, like, a hybrid identity, kind of. Yeah, this recording of Asian America in a way.

00:41:51.190 - 00:42:05.560

HS: That's all really exciting, yeah. HS: Thank you for sharing that. [LH: Yeah.] What would you HS: say is the most challenging or frustrating part about having a HS: career as an artist?

00:42:09.780 - 00:42:23.240

LH: I guess, like, the—at times, there is a lack of, LH: like, certain supports. LH: Like, I never felt, like, unsupported by, like, say, like, my friends and the LH: community and stuff like that.

00:42:23.240 - 00:42:43.080

LH: It's like the lack of support, like—like again, LH: I have to find, like—I have to find and pay for, like, my own insurance. LH: Or, like, I have to find—there's not really like a business LH: management type situation for, like, for artists or

00:42:43.080 - 00:43:01.300

LH: anything like that. So, LH: yeah, I guess, like, lack of, like, those certain types of support. LH: And that, like, no one can tell you, like, how to do this right in the LH: way, like, maybe running a restaurant or something, there's like, very concrete rules.

00:43:04.990 - 00:43:21.620

That's definitely been one of the mo—and also, like, I don't know. This is, like, not as a serious one, but being taken seriously, also, when you say like, "I'm an artist." [laughs] Like, I don't know. That's—and that's just a small thing.

00:43:22.120 - 00:43:38.480

And half the time I feel like I don't know. I'm trying to be better about it lately, but half the time, I backpedal and say, like, "Oh, well, I'm a–I'm a teacher too, so." But, yeah. Guess those things.

00:43:39.430 - 00:43:56.910

But I don't know. I enjoy having a career as an artist, though. It's, like–like I said, the hardest I've ever worked, but one of the most rewarding things for sure. HS: Right, right. Do you have any advice for young artists

00:43:56.910 - 00:44:13.020

HS: navigating their own careers in the industry, or even anything you would tell HS: your younger self? LH: Yeah. Everyone has a story worth LH: telling. And, you know, you can't–you

00:44:14.190 - 00:44:27.200

LH: can't ever, like, riff off of, like, anyone else's story. LH: So, you have your own story that's valuable and unique to you that I feel LH: like, you know. LH: I feel like that's the most important thing in art.

00:44:27.270 - 00:44:40.160

LH: It's like that sincerity. LH: I feel, like, yeah, just being like—again, it's corny to say LH: like, "Be true to yourself" or something. LH: But I mean, like, there's some truth to, like, that cheesy little anecdote.

00:44:40.330 - 00:44:58.000

LH: Because I feel, like, that's where, like, the best art, like, comes from. LH: When it's, like, sincere and well-meaning and LH: deeply personal and shows vulnerability, I think. LH: Yeah, don't be afraid to be vulnerable, especially in art, for sure.

00:45:01.200 - 00:45:15.980

LH: And something that I would tell young—something LH: that I would tell young me is that it is possible to be an artist as a LH: career, but it's also really, really hard. LH: [laughs]

00:45:18.580 - 00:45:34.520

HS: That's great [LH: laughs]. HS: And then I have a couple questions about identity and, kind of, personal HS: interests. We've touched on this a bit, but how do you identify yourself ethnically? LH: Oh yeah, I'm Vietnamese and Chinese.

00:45:37.170 - 00:45:56.180

LH: And it's always funny–it's always funny, kind of like, explaining it LH: to people. Whenever people ask if I'm Chinese and like, "Yeah, but LH: it's, like, layered." Because, like, LH: my—on my paternal side of the family, they're–they are

00:45:56.670 - 00:46:13.060

LH: Chinese that immigrated to Vietnam in, like, the LH: early 20th century and stuff like that. LH: And where my maternal side of the family, they are, like, LH: native indigenous, like, Vietnamese people.

00:46:13.120 - 00:46:31.350

LH: Like, whose families, like, all have lived there. HS: And since coming to Houston, have you been able to connect with the HS: Vietnamese American or general Asian American communities here? HS: Would—can you compare it to other places you've lived, even in

00:46:33.610 - 00:46:45.570

HS: Texas? LH: Yeah, for sure. Back to (?), like, I was actually quite familiar with Houston even LH: before, like, moving here. LH: Just because, like, growing up, my family would actually make, like,

00:46:45.570 - 00:47:01.750

LH: trips down here to Houston, like, every other weekend and stuff. LH: Just 'cause there's, like—this was, like, the only place where they can find, like, a LH: certain, like, Vietnamese, like, vegetable or like, certain, like, Vietnamese LH: groceries without having to pay extraordinary prices.

00:47:02.430 - 00:47:16.360

LH: And they would do things like come down here and get like—load up on, like, food, LH: because it's not as, like, crazy expensive, like, as it LH: is in, like, Austin stuff. So, yeah.

00:47:16.510 - 00:47:35.450

And–and also being here, I do feel like I get to connect with, like, the Vietnamese and just Asian-American community at large, which is really cool. And yeah, I—–so, I'm not gonna

00:47:35.450 - 00:47:48.840

lie. Like, I did not really have any Asian friends until I started studying art and going to college. Just 'cause, like I said, like, the town I grew up in, I was, like, one of, like, five Asian kids at my high school.

00:47:49.270 - 00:48:07.700

And then, like, none of them were artists or remotely interested in art. And yeah, going to college and, like, meeting other, like, Asian American, like, students who were also artists was, like—it's funny. It's, like, there's a kind of a certain kinship there, and then there's also

00:48:07.700 - 00:48:22.860

definitely things like, "It's okay. My–my mom was not happy with this either." But [laughs] I–I joke. There's—my mom is super supportive, but yeah. HS: Yeah, it is great to hear about that sense of kinship.

00:48:23.470 - 00:48:41.340

HS: And then, where would you say that you HS: feel most at home of the places you've lived? LH: Place I feel most at home? LH: Yeah. Out of all the places I've lived, I would

00:48:42.830 - 00:49:00.690

LH: say–I would say Houston, honestly. LH: Like, a city that was already kind of familiar with me. LH: I, again, I enjoy that it's, like, I'm not like the LH: only Asian person, like, in the spaces that I go to.

00:49:01.480 - 00:49:23.530

LH: I like that it's a–I like that it's a very diverse city as LH: well. And I think food here is amazing, so LH: I feel like that's more—that's praise in itself. HS: [unintelligible] And then can you share some of your hobbies and interests

00:49:23.810 - 00:49:35.390

HS: outside of your career? LH: Oh, yeah, like, hobbies outside of art. LH: I like playing Magic: The Gathering. LH: I've been playing Magic: The Gathering Arena, which is the online platform.

00:49:35.470 - 00:49:48.600

LH: So, I do that a lot. LH: I like going fishing. LH: I like–I like trying to catch, like, LH: catfish mostly.

00:49:48.760 - 00:50:02.690

LH: But I also like catching bass and panfish as well. LH: What oth–what other hobbies? LH: I–I also collect toys. LH: Like, I buy a lot of action figures and stuff.

00:50:04.720 - 00:50:24.660

LH: I know [laughs]–I know that there's some part of me that's like, "This is the makeup LH: for not being able to buy cool toys as a kid," but [laughs]–but LH: even better, I get to buy cool toys now as an adult. LH: [laughs] Yeah, I have–I have others.

00:50:24.690 - 00:50:37.180

LH: Also, like, I like hiking and walking, yeah. LH: Cooking as well. LH: I actually really like cooking. LH: Yeah. I swear I'm an interesting

00:50:37.180 - 00:50:56.580

LH: person [laughs]. HS: And what would you say you feel most HS: proud of? LH: I feel most proud of, again, being able to be a full-time

00:50:56.580 - 00:51:16.380

LH: artist and, and even just being LH: able to, like—just how far, like, the—my paintings LH: have gotten. Just 'cause, like, yeah. LH: 19-year-old me would have never been able to fathom that this was even, like,

00:51:17.040 - 00:51:36.300

LH: possible. So, I'm proud of, LH: like, again—I mean, it's corny and all, but it's like, you know, I'm proud of how far LH: I've come. Like, I feel like it's LH: definitely been a harrowing journey that's been worth it to, like, be able to

00:51:36.450 - 00:51:51.320

LH: do what I want to do. HS: That's lovely, thank you so much for sharing that. HS: [LH: Mm hmm] And then, I think that's all the questions I have. HS: Is there anything you'd want to add to share with the archive that we haven't covered yet?

00:51:53.590 - 00:52:09.700

LH: Let me think... LH: Okay, LH: I can't think of anything. LH: But if there's anything, I'll let y'all know [laughs], if that's cool.

00:52:10.990 - 00:52:17.420

HS: Wonderful. Thank you so, so much for your time. HS: I'll go ahead and stop the recording now. LH: Yeah.