Cindy Leong - Oct 25'

Interview, Q&A - Cindy Leong

'A Moment's Interlude' - October 25'

1. This exhibition is the first time your work has been shown in a diptych format diptyque-style artworks. This focus on repetition creates unity as a collection, yet each piece varies with shifts in colour tones, mark-making brushstrokes, and layered depth creating richness in tune with the natural world. Your style, however subtle, is powerful and evocative. What drew you to express this body of work specifically for this exhibition?

I wanted to be more experimental and looser with this body of work. While painting I had in mind the feeling one gets when confronted by the expansiveness of nature. For me this happens when entering a vast field, looking out at the horizon on top of a mountain or standing before an empty ocean. There is a pause, a slowing down. The immersiveness of nature can make you feel small but at the same time part of something bigger than yourself. ‘A Moment’s Interlude’ references that pause and the feeling of relief and wonder you might get. It’s a reminder to take a moment to be in the here and now.

2. Your repetitive mark-making extends a sense of calm to the viewer, and likely also for you while creating it. You’ve been weaving in Buddhist philosophy, cultural roots, and personal ethos, which together create a tranquil environment for your audience. Is there an aim to convey a relational or philosophical awareness to viewers, in response to the current moment? And how do these works sit contextually within your MFA PHD project, along with your presentation here at Public Record?

I’ve been thinking a lot about how constant digital noise affects us – the pull of screens, distraction and internet fatigue. Due to the pervasiveness of the digital world, it feels like there’s a general sense of disconnection among many of us. In my MFA research, I’m exploring how meditation might serve as a constructive response to the attention economy and how abstract painting can act as a vehicle for such a practice. The act of painting helps me be more present, and I hope this extends to the viewer contemplating my works also. The works in this exhibition reflect an ongoing inquiry stemming from these ideas.

3. After your sell-out first solo show at Public Record in 2023, you continued your post graduate study returned to university to complete your Master’s degree. What has your MFA that experience of returning to study been like? Could you share some positive outcomes, ways you’ve grown, or memorable episodes from this time?

I entered my MFA determined to graduate quickly, then felt I needed more time for my art practice to “marinate” if you will, so I went part-time. As a result of this, I’ve had two years to develop my practice at a pace that didn’t feel too rushed or forced. It’s been a pivotal period for my growth. I was able to take bigger risks in terms of the scale of the work and think about how my practice contributes to contemporary painting. Hearing feedback from my supervisor and cohort really helped build my confidence in my work, as well as being challenged during crits which tested my ability to stand for it. Overall, my MFA experience has been a major turning point for me.

4. Looking ahead, what is your vision for the next chapter in your practice?

I’m eager to work on larger canvases, which feels like a natural next step conceptually. I want the work to feel immersive and atmospheric - like an experience in nature. The financial viability to do this can be tricky due to material costs and studio space, however this is where I hope to see my practice headed next.

5. You incorporate incense ash as a textural element in your work. What draws you to this material? It has become your persona, an identifiable part of your practice, embedding recognition and references to Asian cultural expression. How do you see this material shaping your artistic identity? More broadly, what does art and being an artist mean to you?

I often burn incense as a calming ritual. During a spontaneous moment I had the idea to use it for an artwork where I used lit incense to burn marks through rice paper. At the same time, within my painting practice I was exploring materiality and mixing mediums with oil to create a thicker, textural paint. So naturally, I started collecting and incorporating the incense ash from the rice-paper work into the paint I was mixing. I see it as a holistic way of repurposing materials across my artworks. Incense carries spiritual significance too - it’s often used to create a sacred atmosphere and enhance meditation. Using it feels like a quiet nod to that sense of stillness. Being an artist is a way of being for me. My life is very much intertwined with my art. My work stems from my lived experiences – what I’ve learned in Vipassana courses, the philosophy I resonate with and the intrinsic motivation I have to create with my hands.

6, You were born and raised in Aotearoa, while also growing up within Asian culture. Your work does reflect this background beautifully and harmonises these two core influences, however difficult this may feel to execute. How has this diverse cultural background shaped the values that guide your studies and your artistic career?

Growing up in Aotearoa, especially in the 90s, I was outside by myself in nature a lot. I have fond memories of inspecting leaves, playing with rocks, collecting shells and so forth. There wasn’t much to do back then, so the backyard was my playground. This early connection to nature has subconsciously stayed with me and subtly shapes my work. Although I had a predominantly westernised up-bringing, I was raised by Malaysian-Chinese parents who instilled cultural values and customs that gave me a strong sense of grounding. I was exposed to Buddhist temples as a child – I didn’t understand it then, but when I later discovered Buddhist philosophy on my own through a spiritual path, it felt like I was returning to something familiar. Having both Eastern and Western influences has helped me find a balance that runs through my life and art.

7. You’ve collaborated with fellow creative Yasmine Ganley, who is also part of the PR community. How did that collaboration come about, and what was the experience like for you?

I’d been following Yasmine’s work for a while and love her Substack newsletters. After reading one that really spoke to me, I reached out to her to see if she would be open to writing something to accompany my exhibition. I was elated when she said yes. We ended up talking for hours when she visited my studio. It was a wonderfully aligned and seamless collaboration.

8. Do you have a creative hero, someone who deeply inspires you? Are there any quotes or philosophies that have stayed with you in your practice?

I have two and can’t pick between them – Agnes Martin and Lee Ufan. Agnes Martin for her quiet defiance and her belief that art shouldn’t depend on the intellect but rather inspiration. She left New York to live in the desert and continued her practice in solitude there. She wasn’t afraid to “turn her back to the world” to focus on her art. A quote I keep going back to is how she described painting as “a world without objects, without interruption… or obstacle. It is to accept the necessity of … going into a field of vision as you would cross an empty beach to look at the ocean.” Lee Ufan for his artistic integrity, philosophical ideas and contribution to contemporary art – the pivotal role he had in the Mono-Ha and Tansaekhwa movements. His articulations on space, material, emptiness, time and the viewer’s experience has been deeply influential.

Shots by Masami Ono

Interviewer - Yuka O'Shannessy