HANDA

Handa (or H&A) finds an escape from the relentless current of life in Seattle, WA through illustration, crafting, and cycling. Her work has appeared in local collections such as Intruder, Extruder, Thick as Thieves, Short Run's Relay Anthology, and the Seattle Weekly.

Handa is one of the artists in the Fierce Tidings art exhibition at the Gene Siskel Film Center in conjunction with the FAAIM 22nd Annual Asian American Showcase which runs March 31st through April 12th, 2017. We asked her a few questions about her work and artistic practice!

-Does your identity or how you identify yourself inform your work in any way?

An understanding of my personal identity has always eluded me, so it can be difficult to see how it comes out in my work. I don't feel anyone has to know me to understand my work, however. A lot of it is light-hearted, silly, and aimless. I try to get away from myself as a subject in a lot of drawings. The theme for this show led me to do the opposite and pull inspiration directly from personal struggles and aspirations. Perhaps I discovered more about my identity through making work for this show.

-When making your work, do you have certain expectations or do you aim for a specific reaction in your audience and the viewer? (Do you care about how the message of your work is received?)

Entering the world of comics as an illustrator meant that I had to start writing. It certainly isn't my strong suit and I usually convey simple, straight-forward ideas. Since there isn't a lot to interpret, I primarily focus on the fluidity of paneling and pacing. So if a reader does not understand the visual sequencing, I do feel I've missed the mark. In regards to non-sequential illustration, I hardly have deep intentions to defend. It can be refreshing and insightful to have someone else explain their perspective of my work to me. As an opinionated person, I need to be open to other perspectives.

-Does art serve a purpose for you outside of just beauty or aesthetics?

Like many people, I feel the constant urge to make things. Art is my mind's exhaust which means it isn't necessarily a choice, but I do find it therapeutic, and it makes me happy. Making art can be a solitary, isolating lifestyle. The community of self-publishers and comic artists in Seattle has also forever enriched my life. I am super grateful to be connected to so many through the same passion.

-How do current events affect your practice?

Current events drive many conversations, debates, and discoveries throughout my day. And though I would say I am interested in the lives of other people and the global community, there is always an urge inside to get away from everything. When I get into the sketchbook, I tend to leave political and social hot topics behind.

-Do you feel you are more reactive or more reflective when you create?

I imagine I'm more reflective. The time I spend making something is typically when I work through my life strand by strand. Dissecting all of the details of days gone by and days ahead. Sometimes, after the brainstorming stage is over and it's all mechanical work, I don't even think about what I'm drawing. I'm just daydreaming about exploring outer space as a Starfleet officer.

See more of Handa's work on http://handahanda.tumblr.com // Instagram @hellahanda // Facebook @hellahanda // Join us at the Fierce Tidings art exhibition opening Friday, March 31, 2017.

Artist Interview // ANA CHO

Ana Cho spends her waking hours of freedom from the computer at the pottery studio working with her hands. Inspired by the earthy nature of clay she aspires to create functional yet aesthetically unique and pleasing pieces. She feels making usable vessels forms a stronger connection to the people who use her pieces at home. A Korean Canadian Artist who is currently living in the Los Angeles area, during the day Ana works in video games creating digital art.

Photo of artist taken by Scott Greenway.

Cho is one of the artists in the Fierce Tidings art exhibition at the Gene Siskel Film Center in conjunction with the FAAIM 22nd Annual Asian American Showcase which runs March 31st through April 12th, 2017. We asked her a few questions about her work and artistic practice!

-Does your identity or how you identify yourself inform your work in any way?

I never used to make a strong connection between my identity as a Korean and my artworks until I started pottery.

When I became interested in the traditional Korean pottery I realized my desire to create simple and elegant pieces largely comes from being exposed to the traditional aesthetics both consciously and unconsciously while growing up in Korea. I’m looking forward to learning more about Korean pottery, both traditional and modern, and exploring elements that can be integrated in my own practice.

-When making your work, do you have certain expectations or do you aim for a specific reaction in your audience and the viewer? (Do you care about how the message of your work is received?)

I find meaning when my pieces are used in people’s homes with pleasure but without the preciousness that often comes with artwork. I would like my pieces to feel approachable, down to earth and practical – a vessel that makes a person's daily rituals feel a little bit more connected and richer.

-Does art serve a purpose for you outside of just beauty or aesthetics?

Art can be messages sent by the artist to their community, society, the world, or within themselves. Art can also be just for aesthetics. I personally don’t believe art has to have a purpose always because a person creating something itself is meaningful.

-How do current events affect your practice?

I started learning pottery in the midst of a very personally challenging time. The mindful nature of pottery-making helped me tremendously to get through the difficult times. As it did then, working with clay, each step of the process, continues to reminds and allows me to be in the moment and keep the sense of inner peace and calm that easily escapes one in the society we live in.

-Do you feel you are more reactive or more reflective when you create?

I’m more reflective when I create.

See more of Ana Cho's work on Instagram @anacho.made // Join us at the Fierce Tidings art exhibition opening Friday, March 31, 2017.

Giant Robot Media // Interview with Eric Nakamura

by Lydia Fu // twitter: @lydiafu

Images from Giant Robot Media and Eric Nakamura — Images from Giant Robot Media and Eric Nakamura

For the theme of this year's art show, Fierce Tidings, we focus on how artists, creators and culture in the Asian American and Asian Diasporic community respond to current or recent events and how that inspires us to defend or create new spaces for underrepresented voices and cultures.

As one of the formational vanguards of modern Asian American identity and pop culture, I wanted to take a look at Giant Robot Magazine which was started as a DIY zine, photocopied and stapled, in the 90s by Eric Nakamura. Giant Robot created a unique platform that hadn't existed before. It has since developed into a store, a brand, and an online resource for pop culture and art and it continues to evolve its larger encompassing legacy.

At least for me as a young lass in the early days of the internet and growing up in Midwest isolation from the diverse culture of the peripheral coasts, GR magazine was one of my main sources of creative news and inspirational content. Before JUXTAPOZ or High Fructose and others, GR was where I could get info on art that I was sincerely interested in or that I related to. Eric keeps his daily schedule incredibly busy with his endeavors that include running the Giant Robot store and brand, curating shows at GR2 (Giant Robot's Art Gallery), the Japanese American National Museum and the Smithsonian APA Center, recording his podcast with fellow LA curator Daniel Rolnik The Jew and the Lotus and serving as a councilman for the LA Sawtelle neighborhood (P.S. he's been to the White House and met Obama). Despite his hectic schedule, I'm amazed at how he still manages to be so chill and such a gracious person to chat with and learn from. I asked Eric some questions about his current project launching Giant Robot Media!

Lydia: I think in addition to FAAIM, a lot of Giant Robot fans out there can also say we're super excited about GR magazine re-launching as a media presence both online and perhaps print again! GR Media is currently in beta version - when can we expect the release version and how can people sign up?

Eric: I’m not quite sure yet, but so far we’ve been putting up content three times a week in a short two and a half weeks as of this writing. At the moment, you can find us at giantrobot.media and if you want to read any of the past articles, you just have to see our Twitter, Instagram or Facebook. Each article is sort of like a page on its own. We email out the link to everyone on our email list and let it fly. The last thing I’d want to do is promise a giant page of content everywhere without the ability to change each portion of it often so we’re doing things one step at a time, without promising a thing.

Lydia: You first started Giant Robot magazine 20 years ago, when there were virtually no other publications in the same space. Why have you decided to re-awaken GR Media now?

Eric: 23! I’m unsure if there’s been another publication in the same space since. Has there? People seem to not think so, but I’ve stopped paying attention to things like this long ago. GR Media is something new, so it’s a re-awakening I suppose, but really it’s completely new. I met George Ko who's a multi-talented youngster and believes in it. So here we are. We’re not looking back. We’re just going forward. I think making media is still something I enjoy doing and I think the right circumstances are here for it.

Lydia: How has the game changed?

Eric: It’s hard to say exactly. The internet is cluttered and noisy and there’s a lot of deception in social networking. In the end, I suppose I don’t think about the game that much. I’m thinking about doing good work and putting up interesting content. There’s always a need for that and there’s still a shortage of that too. You’d think there was a lot of it, but I guess I still have a hard time finding it.

Lydia: How is GR Media different than the early GR Magazine?

Eric: Even the later GR Magazine wasn’t the same as early GR Magazines. GR Media is different for sure. It’s faster and perhaps less self-indulgent. In a short time we’ve put up more articles than we would ever have, and that includes more videos and audio interviews Giant Robot Magazine ever did. Also the photography is looking great. This is sort of how I wanted later GR Magazine to be like with an online component that enhances it, but now we’re doing it all in one. We’ll see how our print edition comes out.

Lydia: You've had some history in film, including with FAAIM, your first film Sunsets with Michael Aki, and Dirty Hands: The Art and Crimes of David Choe among others.
Will you be incorporating more films into GR Media?

Eric: Cinema? At the moment, no. But perhaps we’ll be interviewing the makers, players, or geeks in between.

Lydia: Any current/new projects?

Eric: There are a bunch of projects which are all either Giant Robot or Giant Robot Media related. The fun part is that things can change quickly as new projects or ideas come up. That’s how it’s been and gladly that hasn’t changed.

Giant Robot Media: James Jean draws on a tokyobike with Giant Robot for charity. (Photos by George Ko. Video by Sarah Ko.)

You can sign up for Giant Robot Media at their website:

giantrobot.media

and also find info and articles via their social media:

Facebook
Twitter
Instagram

FIERCE TIDINGS: On Rage and Hope // An Art Show OPENING at the Gene Siskel Film Center

Accompanying the release of this year's 22nd Asian American Showcase, we are hosting a group show "Fierce Tidings: On Rage and Hope" at the Gene Siskel Film Center. To celebrate the diversity of the Asian diaspora and Asian America, we invited artists from a few different disciplines to share their process and work as a response to or a reflection on recent and current events globally and locally.

The show opens the same night as our first film The Tiger Hunter. Come join us, arrive early if you need to snag your tickets from the box office and scope out the art before the show! We'll also be having a Pop Up Market featuring prints and other wares by the participating artists.

Fierce Tidings Art Show
Friday, March 31 2017
6pm - 8pm

at the Gene Siskel Film Center
164 N. State St.
Chicago, IL

Artist Interview // MAGGIE CHIANG

Maggie Chiang is a Taiwanese American full time artist and part time dreamer. Inspired by both places real and fictitious Maggie's illustrations evoke a longing for adventure and the pursuit of the unknown, exploring impossible landscapes and places unseen. A central theme of her art is the relationship between humanity and nature, oftentimes the underlying thread that ties together her work and establishes her individual artistic voice.

Chiang is one of the artists in the Fierce Tidings art exhibition at the Gene Siskel Film Center in conjunction with the FAAIM 22nd Annual Asian American Showcase which runs March 31st through April 12th, 2017. We asked her a few questions about her work and artistic practice!

-Does your identity or how you identify yourself inform your work in any way?

I believe that my background influences my work, coming from a Taiwanese family living in the US definitely shows up in my work.

"Day & Night" by Maggie Chiang (Image courtesy of artist)

-When making your work, do you have certain expectations or do you aim for a specific reaction in your audience and the viewer? (Do you care about how the message of your work is received?)

When I am making my work, I don't have any expectations in any way, shape or form. My work usually is a reflection of my state of mind, so I don't ever have any expectations of how people will view the pieces I make.

"Fox" by Maggie Chiang for Giant Robot Formations show. (Image courtesy of artist) — "Fox" by Maggie Chiang for Giant Robot *Formations* show. (Image courtesy of artist)

-Does art serve a purpose for you outside of just beauty or aesthetics?

I think art helps me express my thoughts and emotions better than I can verbally express them. I don't think I am very good at communicating my thoughts and ideas into words, so art definitely helps me.

"Woodland" by Maggie Chiang (Image courtesy of artist) — "Woodland" by Maggie Chiang (Image courtesy of artist)

-How do current events affect your practice?

At first, I was a bit afraid to make any work that would be insensitive to anyone. But I've since realized I should just focus on the work I want to make, and not let outside factors effect the work I want to create.

"Zen" by Maggie Chiang (Image courtesy of artist) — "Zen" by Maggie Chiang (Image courtesy of artist)

-Do you feel you are more reactive or more reflective when you create?

I think my work is more reflective than it is reactive. I am constantly reflecting on myself, my life and what I've done so far. So it makes sense why my work is constantly a reflection of my thoughts and emotions.

See more of Maggie Chiang's work on www.hellomaggiec.com // Instagram @mcmintea // Join us at the Fierce Tidings art exhibition opening Friday, March 31, 2017.

Filmmaker Spotlight: Joella Cabalu (It Runs In The Family)

By Kathy Trieu // Twitter: @itstrieu

IT RUNS IN THE FAMILY features a young gay Filipino-Canadian artist, Jay Cabalu, along with his sister, Joella, travel across the globe to meet their other queer relatives. Afterward, Jay creates a new collage art piece and reflects back on his journey and its impact on his struggle with being gay and Roman Catholic. It Runs in the Family is an intimate exploration on acceptance and what the modern queer family can be in the Filipino diaspora.

Since its completion in 2015, IT RUNS IN THE FAMILY has been shown in multiple film festivals across the continent. The feature documentary film, though Joella Cabalu’s first, has been well-received and is making its way from Vancouver to the Houston Asian American Film Showcase on July 9th, 2016. But first, I talked to Joella Cabalu about IT RUNS IN THE FAMILY.

BUY TICKETS NOW
HOUSTON ASIAN AMERICAN FILM SHOWCASE
JULY 9 // 7 PM // 800 AURORA ST // HOUSTON

Kathy: So I learned that your documentary was inspired by the film, For the Bible Tells Me So. Could you tell us a bit about this inspiration?

Joella: Sure back in, I believe it was 2007, I saw a film. It was produced by PBS and I saw it at a film festival. It was called For the Bible Tells Me So, which follows 5 American Christian families and how they each dealt with the coming out of their child. I found the timing of watching this film to be very apt because my brother, Jay, who is the central figure in It Runs in the Family, just before I watched For the Bible Tells Me So—maybe a couple of days before that—Jay had come out to me. In the film, I expressed I was fearful of when he had come out because of our religious upbringing. So I found it to be very timely that I was watching this documentary. And it made me think about what it would look like for our own family. I noticed that the film had, out of the five, only one family was a family of color and they didn’t get that much screen time. So the majority were White Christian families who were portrayed. I was curious what would that story of coming out look like for an Asian family, an immigrant family. That’s kind of where the initial idea for the film came. But that was back in 2007 and I didn’t really do anything about that idea until I went back to school for film production in 2013. That was when I started to actually put the story into motion.

K: What were you doing at that time then?

J: In 2007, I was finishing my bachelors at the University of British Columbia in Art History. I just really loved film. I just found over the years that I gravitated toward documentaries, when I picked my five films I wanted to watch at a film festival. I just noticed that, so it was interesting. And then after I graduated I worked as an administrative assistant in corporate and then nonprofit industry. So really I wasn’t doing anything in the arts. Just to back up a bit, I made my first short film when I was fifteen years old at a film camp and it’s interesting. Something happens as a women of color and as a teenager going into the real world. I had originally wanted my degree to be film studies, but then the 20-year-old Joella… I convinced myself that I wouldn’t be good at it. The reason behind that, I just listed all the things that I needed in order to be successful in the film industry, which were I needed to be extroverted. I needed to be aggressive. I needed to be arrogant. Most of all, I needed to be a man. Over the years, I’ve been reflecting on that and I think that’s subconsciously what happened… That’s why I decided to do Art history instead. Film has always been a passion of mine. It’s just… I just didn’t believe in myself. I didn’t see myself represented behind the camera or in front of the camera, so why would I even bother right? So that’s kind of where my journey began.

K: You had this idea after watching this documentary and talking with your brother. Was that the thing that really propelled you to pursue film making as a career? Or were there other things going on?

J: So there were two things going on. The main reason—I think people can relate to this. The last job I had before I went to film school. I really loved it. I was working at a nonprofit, again I was working as an admin assistant. There was a restructuring and my department got axed and half of my colleagues were laid off. That was really the catalyst with me. I said I hadn’t been doing anything with arts or film and when they announced the restructuring in my head, I was like: “that’s it! I’m going back to school and I’m going back to school for documentary.” That was 2012. I think once I found a school I wanted to go to, I already knew that I wanted to do this story on my brother. So I was just of the belief, that if there was one story I had to make, it would have to be this one about my family. I watch a lot of films (laughs). I went to this Women in Film festival in Vancouver. One of my colleagues, she had previously worked in films—which I found to be interesting—she produced this one doc that was being filmed. The film was made by a middle-age Japanese woman. When I saw her do the Q&A, I just related so much more. Again, it comes back to that comment I made before, you can’t be what you can’t see, right? So that was the first time, looking at this woman who had this kind of quiet strength about her that I related to. If this woman can go back to school at her age, and create a feature documentary, certainly I could do it. That realization happened and then several months later there was the restructuring at my work. You know… so it’s all these little events in my life that made me wonder I wasn’t meant to work in an office all my life.

K: So then, at that time you had already shared this idea with your brother?

J: No… (laughs) I think so maybe [it was] when I started going back to school at the end of 2013. Part of the curriculum was that I had to make three films in the span of four months and your grad film would be like ten minutes. So I knew that I wanted to make a film about Jay and so I (laughs) I originally told him when I was starting school that I had this idea. I told him and he was totally on board, but later on when he started to dig deeper into the struggles he’s had, I think he was kind of surprised. He had dealt with them already and pushed them aside and it was a bit of a challenge. Jay was thinking it was going to be this fabulous portrait of himself (laughs), somewhat superficial. So there was a lot of discussion to do that. I have to preface though, the film I am talking about, that I made for school is called Stand Still. I filmed Jay and my parents talking openly for the first time about their conflicting beliefs. That film is completely separate from It Runs in the Family. But Stand Still is essentially the jumping off point for me to explore all the other relatives in my family, in my extended family, who are also queer-identifying.

K: I know that you expressed this desire to share a story that could resonate with many people by sharing something that was close to yourself. Now that the film has been completed and released, what kind of response have you received from different individuals from LGBTQ communities of color that you could share with us?

J: I think [there’s] one thing that has been surprising. This journey for the film I had that I conceived [of, but] didn’t do anything about the idea until 2013. [I] started off with a short film that was very emotionally challenging and also a steep learning curve because that was my student film. In 2014, I got commissioned by a TV broadcaster out here called OUTtv; they commissioned me to make It Runs in the Family. We completed the film in 2015 and since the beginning of 2016, we’ve been shopping the film and presenting it in festivals. The last three years have been such a journey and like I said emotionally challenging because it’s [such a] personal topic, very sensitive issue but as well this is my first broadcast hour-length documentary so there’s a steep learning curve. I don’t know I think… maybe I’m just a bit cynical and I just focus on all the challenging and negative parts of this journey… So it was a good reminder when we premiered. Our U.S. premiere was at the Seattle Asian American Film Festival, someone in the audience who is Asian and gay, mentioned that it is so refreshing to see a positive representation of the Asian community with respect to LGBT issues. Cause I think there is a stereotype– and I think it’s true to some respects—but it’s the only or the most popular representation out there that Asian communities are just monolithic and are conservative when it comes to LGBT issues. So I think that has been a thing that that resonated with Asian communities and queer-identified folks that you know here’s something that is inspiring, especially when it comes to your family can be something that is challenging and risky topic that comes up. I think it was hopeful for people to see that there are families out there in the Asian community, in the Filipino community who are accepting and progressive. So I think that has been one of the most surprising things for me because I’m so mired in all the challenges of making the film and then it being so close to me as well.

K: As of now, what do you have on your plate, what kinds of projects are you working on?

J: Right now, I’m co-producing a short documentary. That’s being produced by Bravofact Canada and it’s called Repairing Society. It follows a movement, a volunteer run movement called Repair Café, where a team of volunteers who are called Fixers meet monthly and people from the public go to these monthly events with their broken household items and get them fixed by fixers (laughs) so it’s a way to divert broken items from the landfills but it’s also kind of a representation of the best of humanity. Being able to connect with people in your community and also learn how to fix things. Because I think we’re just so used to saying “if it’s broken, I’ll just go buy something new.” So that’s currently what I’m working on, and I am developing a documentary short series on interracial dating from the perspective of the women of color.

K: Thank you so much Joella for making time for this interview and thank you for sharing your family’s story with us. We’re so excited to show your film here in Houston!

Follow Joella Cabalu on Twitter: @joellacabalu
Follow Jay Cabalu on Twitter: @jaycabalu

BUY TICKETS NOW
HOUSTON ASIAN AMERICAN FILM SHOWCASE
JULY 9 // 7 PM // 800 AURORA ST // HOUSTON

Filmmaker Spotlight: Bernard Badion

By Allan Aguilar // shakeseliot@yahoo.com

Bernard Badion is a filmmaker currently based in Mar Vista, CA. His short film, Sounds We Have No Letters For, will be screening at the next Houston Asian American Film Showcase on July 9, 2016. I had the great privilege of being able to watch his film and interview him to get a deeper understanding of his experience and perspective on making the film.

Buy Tickets Now: The Houston Asian American Film Showcase
JULY 9 - 7:00 PM // 800 AURORA ST - HOUSTON

FAAIM: How did the concept for this film evolve?

Bernard Badion: I was doing an internship at an agency and on a slow day I was doing these writing prompts online to just get me writing. There was this one question about how I thought it would be like to live in a dystopian future. Which led me to think about how dating would be in that alternate way of the world. This also reminded me of an odd couple I overheard at dinner the other night with my wife. They were on a first date that made me feel awkward just sitting next to them. So I took those two characters and put them in this weird dystopian future of dating and SWHNLF was born.

FAAIM: The two actors (Eugene Cordero and Julia Cho) play off each other rather well. How did you come to cast them for this film?

BB: It's true that this business is all about who you know and I just happened to know both of them before the project. Years ago Eugene was my Improv teacher at UCB. He was always so funny in class and always killed when I saw him perform. Also I took note of him because he bumped into me one time and asked me what I wanted to do in my career. He was a busy guy and he took five minutes to ask me about me. It's a small thing, but I always remembered it.

Julia was kind of the same way. I met her at an event a couple years ago at the Japanese American National Museum because I was sitting next to her. She was very nice and asked about what I was doing in LA (nothing fancy at that point). I think she was coming off of being on House or something big like that. I kept in touch with her over social media and when I had this role I dropped her an email.

FAAIM: To me, it seemed this could have been a tricky film to write, if only because you're somehow blending the meet-cute with feminism and dystopian tropes. Were there any difficulties in writing the conversation between the two characters for this film?

BB: In the beginning, I'm not thinking about meet-cutes or any tropes. You're right though, looking back on it that is what the movie turned out to be, but I feel the most work I did for this film is to try making it work on the page. I knew I needed to keep it cheap based on my budget so I thought I should try to do a walk-and-talk romance like Before Sunset, but with Asian people! Which is hard because the whole movie rests on two people talking. That's why I felt that the cutaways were important. It would illustrate the relationship the characters are having/wanting in real life. So yeah, it was a tough script, but once I got the first draft I'd say 80% of it never changed.

FAAIM: What were some of the other challenges you faced in different stages of the filming process?

BB: Shooting for two days, you're very limited on time. You have to prepare for everything, but problems will always occur. We shot all the inserts on a stage at LMU so that went pretty well until a neighboring stage had a fogger set off the fire alarms. That killed an hour of filming and forced us to start day 2 a couple hours early.

At the Pho restaurant, I had a two hour window to shoot in there (thank you Pho Show owners!) so I planned to be there 30 min early and load in when the customers left. The only problem was that the car that had our camera in it went to the wrong Pho restaurant. They got there with only 40 minutes to shoot, so I quickly looked at the script and scrapped 4 shots. The actors nailed their performances in, I want to say two takes. Kudos to them for being on when they had to.

FAAIM: I read that you were involved in improv with the Upright Citizens Brigade. Does your experience in improv inform what you want to express through film?

BB: I loved my time at UCB! I feel I grew so much during my time taking classes and performing around town. The number one thing I learned there was the infamous 'Yes, and..." rule. It just means that to keep a scene going and developing you never want to negate the people in your scene. You always agree and add something new to the scene, hence the 'Yes, and...". Also the idea that you can take any three ideas and then find a way to connect them all in the end (Harold form) blew my mind. So yes, UCB and a lot of what I learned there very much informs what I write and create.

FAAIM: Being Asian-American with experience in the industry, is there any kind of momentum you sense of Asian-Americans becoming even more prominent and less stereotyped in film and television in the future? And if so, what do you feel will be necessary to maintain this momentum?

BB: You know it feels like there is. The whole “John Cho in every movie” thing was fun and got a lot of traction. It feels like every day I read a new diversity article from some publication or blog, which is great, but actors, writers, directors, producers, and so forth don't come from thin air. I think it all starts with every person out there battling with the question "Do I pursue _____ (insert financially stable job in a great job market)?" or "Do I keep going with _____ (creative job in a field they have zero contacts or family history with)?". It's tough and it's something I wrestled with a lot. I made the decision to pursue writing/directing because I was so miserable in the couple corporate jobs I had. Nothing made me feel better than writing a new project or creating something on a set. That either makes me passionate or an addict. Probably both.

Along with the creative jobs, we just need more people in rooms where people decide who gets hired for what. More Asian-American network execs, agents, managers, producers, and so forth. I know you're out there and when you get there, please give me a call!

FAAIM: Do you have any future projects that you'd like to share that you're excited about?

BB: I recently wrapped up directing I Won't Miss You, a short film starring Joy Regullano and Kelly Sry. We're out to festivals now and can't wait to screen it for everyone. Check out the trailer! http://www.nuno.media/i-wont-miss-you

I'm always writing scripts. My last script, Thank You For Being Racist, is a comedic TV pilot centered around a Filipino man in his late 20s/early 30s who lives with his two very catholic parents and works at a sports radio station under a racist boss. I'd love to make it one day, but who knows? A feature I'm working on is based on my experience doing PCN's (Pilipino Cultural Nights) in college.

I recently won a grant for a project that I hope to start soon, but it's still a little short on funds. There may be another project I do with Eugene, but that's also up in the air. I like that one though, so I'm hoping I get everything together to get that on a screen ASAP.

Right now I work for a new Netflix show titled One Day At A Time, so that takes up all my time along with my newborn and my wonderful wife.

Buy Tickets Now: The Houston Asian American Film Showcase
JULY 9 - 7:00 PM // 800 AURORA ST - HOUSTON

Bernard Badion's website: http://www.nuno.media/
Follow him on Twitter: @bernardbadion

Asian-American Rising Stars To Watch Beyond the Month of May

By Anum Syed // Asyed55@hotmail.com

May was full of rainy days, college graduations, an extra day off from work in remembrance of Memorial Day, as well as the month in which Asian Americans and Pacific Islanders are celebrated for their history, traditions, cultures, achievements and contributions here in the States.

Being an Asian-American, it can be difficult navigating between contrasting cultures. Oftentimes, the focus is primarily on our Asian heritages, excluding the fact that many of us are eating hamburgers, dissecting Beyonce’s Lemonade, and trying to scroll through social media without stumbling upon a Game of Thrones spoiler just like the rest of America. It is this reason that Asian American and Pacific Islander Heritage Month plays such an important role. It is a time that not only embraces a person’s Asian roots, but it also reaffirms our role as Americans.

While there are a countless number of Asian Americans that should be honored every day of the year, listed below are three millennials who are embracing what it means to be an Asian American in contemporary pop culture. Changing the face of the entertainment industry for the better, Hasan Minhaj, Eugene Lee Yang, and Sana Amanat each embody the beauty of being an Asian American today.

Best known for his role as a Senior Correspondent on the Emmy and Peabody Award-winning program The Daily Show, Hasan Minhaj’s quick wit and impeccable delivery has garnered him to be a respected, and incredibly well-dressed, comedian and actor. Being a first generation Indian-American Muslim, Minhaj’s charm lies in his ability to find humor in his race, identity, and religion. Other than for the fact that Minhaj is a comical genius, for me personally, Minhaj comes off as exceptionally relatable. While he embraces his Asian heritage, he also reminds us that he’s every bit of an American as that guy with the “Make America Great” bumper sticker. In a field that often overlooks the Asian American community, his talent and confidence is both empowering and humbling.

(Photo: Eugene Lee Yang; @eugeneleeyang)

BuzzFeed’s Eugene Lee Yang breaks any preconceived notions one may have of Asian stereotypes. One of the most recognized and influential members on BuzzFeed, Yang represents what many Asian Americans aspire to be; a talented producer and actor not defined simply by his Korean features, but for his creativity and skills. Not only does Yang excel in everything he does, just ask the other Try Guys, but he has also made it a mission to redefine what it means to be an Asian American without any barriers. While much of Hollywood continues to dismiss Asian actors in lead roles, that’s a nod to you Ghost in the Shell, Yang refuses to be categorized. He’s a reminder that we shouldn’t limit ourselves based on what others expect us to be.

Rounding out the list is Marvel Comics’ editor and director, and all around badass, Sana Amanat. As co-creator of Ms. Marvel’s Kamala Khan, to say Amanat is an inspiration for people everywhere is an understatement. Not only is she one of the few females navigating through the world of comics, she is doing so by being a Pakistani-American Muslim. Growing up, I related most to the X-Men for their diversity and their desire to be accepted. While relating to a mutant can be awesome, Amanat has now given Asian-American Muslims, especially, a voice during a time that our country is filled with political controversy and racial tension. She reminds us that anyone can be a hero, regardless of their race, gender, and beliefs.

Last week to see JOURNEY-SCAPES Art Show! // Extended to May 18th!

The JOURNEY-SCAPES Art Show will be up for only one more week at the Chicago Gene Siskel Film Center! The exhibition closes May 18th. Artwork is still available for purchase online: here. Or, to view in person, contact info can be found on the artwork labels at the Film Center. Be sure to check it out while you can!

Artist Interview // HELLEN JO

Hellen Jo is an illustrator and cartoonist living in Los Angeles, CA. Hellen has contributed short comics and illustrations to various publications, including the Believer, Papercutter, Giant Robot, Electric Ant, and VICE. She has also shown her illustration work in a variety of gallery and museum shows, contributed to the independently-made video game, Calvin & Hellen's Bogus Journey and published the first issue of her comic Jin & Jam. She has been a storyboard artist for shows such as Steven Universe, Regular Show and others.

Hellen Jo is one of the artists in the Journey-scapes art exhibition at the Gene Siskel Film Center in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked her a few questions about her work and artistic journey!

-What/Who inspires you?

Currently, I'm inspired by teen delinquents, LA skate videos, and the free issues of Teen Vogue that keep showing up in the mail. My two favorite artists are Xaime Hernandez and Taiyo Matsumoto.

-What are you working on right now?

Right now, I am preparing for Roadshow: Austin in July, an arts marketplace and party for ICON9, the Illustration Conference, and I'm translating Hong Yeon-sik's amazing Korean graphic novel, "Uncomfortably, Happily", to English for Drawn & Quarterly. I'm also neck-deep in unfinished paintings for a solo show at Giant Robot in October.

-How would you describe your artistic journey?

I would call my "artistic journey" incredibly wayward, haphazard, and continuously unknown. It took a lot of crying, failing, dropping out, disappearing, and stress to end up here, drawing weird pictures in the dark in the back of the house. My path is never clear, even to myself, and I will probably continue to struggle with my desires, goals, and "purpose" all the way up til the day I die.

See more of Hellen Jo’s work on http://helllllen.org // Twitter @helllllen // Instagram @helllllenjjjjjo // Join us at Journey-scapes art exhibition going from April 1st through 14th, 2016.

Journey-scapes Art Pop Up Market ACT II // APR 9, 5PM

Back by popular demand! Join us for the SECOND ACT of Journey-scapes Artist Pop-up Market this Saturday April 9, 2016 starting 5pm before and after the screening for MELE MURALS (Mele Murals - Documentary), a film about the Hawaiian art scene and the influence of ancient traditions on graffiti art! Be sure to come visit the Gene Siskel Film Center of the School of the Art Institute of Chicago and stay for both!

Participating Journey-scapes artists will be offering wares such as jewelry, prints, art, pins, zines, comics, and more!

Small town hero with an American Dream - Interview with Growing Up Smith’s Anjul Nigam

By Anum Syed (asyed55@hotmail.com)

What do Superman, Frodo Baggins, and Smith Bhatnagar have in common? They all come from humble beginnings and are in search for a sense of acceptance.

GROWING UP SMITH, directed by Frank Lotito, has been praised for its ability to transcend racial and class barriers in small town America. Anjul Nigam delivers a comical standout performance as head honcho Bhaaskar Bhatnagar, and his involvement in writing and producing the heart-warming film as told through the eyes of a young and optimistic immigrant has captivated audiences.

In honor of GROWING UP SMITH's screening at the Asian American Showcase on April 14th and at the Houston Asian American Film Showcase on April 29th, we had the opportunity to interview the talented Anjul Nigam:

I want to begin by congratulating you on Growing Up Smith’s success. With awards such as the Jury Award for Best Narrative Feature at CAAMFest, and the Audience Award Best Narrative Feature at the Woodstock Film Festival and Naples International Film Festival, why do you think Good Ol’ Boy has been so well received?

I believe there is a need for feel-good films that depict the human experience with humor and truth and are without explosions, profanity and violence. Our movie tells a story that is a tribute to first love, childhood heroes and growing up in Small Town, America... in simpler times. Our world today is filled with so much cynicism that Growing Up Smith offers a well-needed escape from this negativity.

A specific element which separates Growing Up Smith from other movies is its family-friendly approach. How important was it to you that the movie remain wholesome and why?

I have two kids, ages 12 and 6, and when we want to go see a film as a family, the only options we have are animated movies. While I enjoy a well-made cartoon movie, I believe there’s room for stories that can appeal to both kids and adults alike and still live in the real world.

Your portrayal of Bhaaskar Bhatnagar is incredibly witty and humorous. What inspired your character to be so outlandish yet relatable?

A lot of Bhaaskar is based on my own father. We immigrated to the U.S. (to Connecticut), when I was a kid, and I grew up with my parents wanting to preserve our Indian tradition while allowing us opportunities that would help us assimilate so that we would face as few obstacles as possible. Meanwhile, my father’s goal was never to be here permanently, but rather to become professionally established and then return to our homeland. Bhaaskar’s line, “We’ll go back and live the American Dream, in India” is borrowed directly from my father. I think it’s relatable because the immigrant experience is essentially universal in that it’s about finding home away from home.

All the characters in Growing Up Smith are multi-dimensional with their own personal struggles. Which character, aside from Bhaaskar Bhatnagar, do you feel is the most genuine and why?

I would say Smith, the Growing Up Smith himself. His adolescent experience is molded greatly by his parents. From the first moment we meet him, we see that his father is holding up a photograph of a girl Smith will marry when he turns twenty-two. And yet, he’s exposed to everything that America has to offer but his traditional Indian parents would never approve: Kentucky Fried Chicken (he’s from a vegetarian family), views of his hero Butch making out openly on the front lawn, and above all, Amy, his first love. The more Smith immerses himself in these opportunities thrown at him, the more we realize that they are a real part of growing up. And as he responds to them, we’re touched by his unabashed honesty. For instance, when he is so moved by Amy, he can’t help but share with his parents that “I love her!" Smith is an awkward boy, trying to fit in in his new home, and viewing the world with bewildered joy and expectation.

Is there a specific scene in Growing Up Smith that epitomizes your upbringing?

As one of the writers, I borrowed greatly from my own personal upbringing in an immigrant Indian family. There is scene where Smith is handed a traditional punishment known as utthak baithak and it is based on something my brothers and I grew up with. When we had done something wrong, my parents would reprimand us by having us hold our ears and squat up and down a designated number of times. It wasn’t a painful punishment; it was humiliating, and so the emotional impact was greater than being spanked.

Were you ever fearful that the portrayal of Indian immigrants in Growing Up Smith may come off as too stereotypical during the filming process?

Stereotypes are often based on truths and it can be difficult to avoid such a label when telling a story built on certain truths. Moreover, concerns about stereotypes are too often misplaced. The important questions to ask would be whether the characters we portray are three-dimensional and do they have a beginning, middle, and end? Do they fit in the story in an integral way? Roles that perpetuate a negative stereotype are those that are on the fringes of the story and not developed. As such, in Growing Up Smith, we made sure all the Indian immigrant characters are significant and substantial.

What are some movies that have inspired you to continue not only acting, but writing and producing as well?

I was inspired to become an actor by watching The Ten Commandments when I was eight. Charlton Heston in the role of Moses was my childhood hero. I was so moved by the performance, that after seeing the movie, I found a stick in my backyard and called it my staff. As my friends were playing cops and robbers, I was trying to open the Red Sea which was my lawn in Connecticut. From a writing/producing perspective, some of my favorite films are Stand By Me, Billy Elliot, Whale Rider and Big Night. They’re all intimate stories about the human experience, and they have inspirational themes.

“Consider your ethnicity a wardrobe. ...when you put on your favorite pair of jeans, you’ll always feel good about who you are, and others might see it too and want you part of their lives and work.”

While the number of Asian Americans in movies and arts has increased, there is still a considerable lack of diversity of roles given to Asian Americans. What are your thoughts on the lack of diversity?

The issue of diversity is quite complex. On the one-hand, we fight to have opportunities that are based on skill and colorblind to any ethnicity and race. On the other hand, when we see opportunities provided to a white majority in a similarly colorblind way, we tend to have an issue with that. Our world is based on classifications at all levels: male vs. female; white vs. brown vs. black, etc.; young vs. old; straight vs. gay. In implementing an affirmative action directive to a certain class, we’ll always have another form of class that hasn’t been addressed. Take for example, a character that is written as a police officer, and the character’s ethnicity, gender, and sexual orientation are not relevant to the storyline. Do we cast the role with a view to affirmative action in all classes? If not, how do we decide which minority class we need to give special consideration to? Or do we just cast the best actor for the role? Is there a balance to be made in accurately reflecting our diverse world and still holding onto colorblind values? I’m not sure what the answers are, but I do know they’re not simple.

What would you say to encourage Asian Americans to continue to participate in the film making process?

Consider your ethnicity a wardrobe. It may not be relevant to some, but to others, the color of your pants may matter. You may not be able to change everybody’s taste, but when you put on your favorite pair of jeans, you’ll always feel good about who you are, and others might see it too and want you part of their lives and work.

Is there anything you would like to tell your fans and to encourage others to watch Growing Up Smith?

Growing Up Smith had a long journey to the screen. It’s a work of passion that was a rollercoaster ride in getting made. And so, it’s fitting that it takes the viewer on a ride, too. One that leaves you feeling inspired by an awkward little Indian boy.

Anjul Nigam to appear in-person at both screenings!

CHICAGO | APRIL 14 | 8:15 PM
21st Annual Asian American Showcase
The Gene Siskel Film Center
164 N State St, Chicago, IL 60601

Buy tickets - chicago

HOUSTON | APRIL 29 | 6:30 PM
Houston Asian American Film Showcase
14 Pews
800 Aurora St. Houston, TX 77009

Buy tickets - houston

Artist Interview // KONSTANTIN STESHENKO

Konstantin Steshenko studied animation at Emily Carr University of Art + Design in Vancouver, Canada. His first film "Wind & Tree" won Best Canadian Student Short at the Ottawa International Animation Festival 2013. Konstantin currently resides in Los Angeles and eats so many cookies that he feels guilty enough to write about it in his bio.

Konstantin Steshenko is one of the artists in the Journey-scapes art exhibition at the Gene Siskel Film Center in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked him a few questions about his work and artistic journey!

What/Who inspires you?

The natural world is unceasingly surprising and if I can impart a small fraction of its wonder I will feel like I have been successful. I am indebted to Ursula K. Le Guin, Haruki Murakami, and Hayao Miyazaki for their work and inspiration.

Eliza, webcomic. Images courtesy of the artist.

What are you working on right now?

A webcomic about a guru I met on my travels through South East Asia and the future he foretold.

How would you describe your artistic journey?

I’ve been an artist ever since I can remember and love experimenting in different mediums, from animation and comics to writing and illustration. With every new project I seek to challenge myself with a new style and aesthetic that will best represent the idea I want to see born into the world.

See more of Konstantin Steshenko’s comics on http://www.konstantinsteshenko.com // konstantinsteshenko.tumblr.com // Instagram @steshenkon // Twitter @KonSteshenko // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Artist Interview // TIFFANY LE

Tiffany Le is a Vietnamese-American freelance illustrator based in Southern California. She investigate themes of cultural legacy, comparative mythology and literature, and social topics through the Asian American lens.

Tiffany Le is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked her a few questions about her work and artistic journey!

What/Who inspires you?

Many things inspire me, and it's difficult to categorize--friends, family, literature, mythos, social topics, etc., but if I had to narrow it down to an overall encompassing factor, I'd call it a desire for narrative. Communication and understanding has been a driving motivator in my art, when I find words lacking to convey that.

Tragic Waters series, images courtesy of the artist.

What are you working on right now?

I'm currently working towards my thesis grad show for my MFA at CSU Long Beach. By documenting my family's stories, Tàu explores Vietnamese-American cultural history and refugee struggles through the metaphorical depiction of boat and water imagery.

How would you describe your artistic journey?

Constantly evolving--I feel that in our craft, mastery is not truly a thing, but it's something we strive towards to mean continually progressing and changing. So, it still feels like I'm bouncing around, trying new things, and collecting skill sets that work for me.

See more of Tiffany Le’s work on www.letealeaf.com/projects // Instagram @letealeaf // www.facebook.com/letealeaf // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Journey-scapes POP UP SHOP! // APRIL 2nd, 6PM

Come out to the GENE SISKEL FILM CENTER (164 North State Street, downtown Chicago) for the Journey-scapes pop-up market before the Saturday, April 2nd TYRUS screening! Participating artists of the show will be offering prints, jewelry, pins, cards, zines and more!

Artist Interview // YUMI SAKUGAWA

Yumi Sakugawa is an Ignatz Awards nominated comic book artist. A graduate from the fine art program of University of California, Los Angeles, she lives in Los Angeles. Her comics have also appeared in The Believer, Bitch, the Best American NonRequired Reading 2014, The Rumpus, Folio, Fjords Review, and other publications.

Yumi Sakugawa is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked her a few questions about her work and artistic journey!

What/Who inspires you?

Yoko Ono, Bjork, Frida Kahlo, Tavi Gevinson, Kim Chi, Aimee Bender, Miranda July, Haruki Murakami. Astrology, intense conversations with girlfriends, meditation, aimless walks in downtown Los Angeles, museums, outrageous fashion, coffee, the lunar cycle.

What are you working on right now?

I am in the midst of completing a fully illustrated, DIY lifestyle guide to young women that should be coming out in bookstores next year. I am also working on a multimedia installation that will be on display at the Smithsonian for a 3-day pop-up art event in celebration of Asian American Pacific Islander Heritage month. Also, a few secret projects involving the singularity, the creative process, toxic female friendships and cults.

How would you describe your artistic journey?

I feel like my artistic journey truly began on a deeper level when I discovered meditation and mindfulness practice eight years ago. Mindfulness is about embracing the present moment and celebrating what is now, who you are now. Every year is distilling myself into a more concentrated version of my true authentic spirit. Every year I am delighted and surprised by the new layers I keep discovering within myself, and the new voices I get to share with the world. The more I discover new things about myself, the more attuned I feel to a higher wisdom that is guiding me along where I need to be right here and right now.

See more of Yumi Sakugawa’s comics on www.yumisakugawa.com and acrosstheyumiverse.tumblr.com // Instagram & Twitter @yumisakugawa // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Artist Interview // SITJI CHOU

Sitji Chou is a lethargic cat trapped in a human meat body. He survives as a freelance animator in Vancouver, Canada. He is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked him a few questions about her work and artistic journey!

What/Who inspires you?

People watching inspires me a lot. I daydream a lot about where strangers are going, what they are doing and thinking, and about their past. That's usually the starting point but it deviates pretty quickly into a mess of nonsense.

What are you working on right now?

I just came back from a long trip, so I'm still in the pitching phase for a few freelance projects. There's a couple I'm pretty excited about but I don't want to jinx myself!

How would you describe your artistic journey?

My artistic journey definitely has had it's ups and downs. So much of the art I make depends on my frame of mind and I'm lucky that the stars have aligned enough times for me to make a career of it.

See more of Sitji Chou’s work on sitji.com // Instagram @sitjichou // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Artist Interview // AGNES MA

Agnes Ma is a multidisciplinary artist whose prior background in biology is subtly interwoven in her chosen media of sculpture, metalwork, and jewelry. In her everyday life, she observes and collects forms in nature. Through this process, she is better able to appreciate and understand her environment.

Agnes is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016.

We sat down with Agnes at her studio in DeKalb to ask her a bit about her work and artistic journey! Check out her video interview below:

See more of Agnes Ma’s work on her website w ww.agnesma.com // Instagram @i_am_agnesma // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Artist Interview // LOSTBOY ILLUSTRATIONS

Behind LOSTBOY ILLUSTRATIONS is Fin Lee, a queer Korean American artist, illustrator, maker, and a proud Aquarius. They create abstract visceral formations, patterns, textiles, and affirmations with themes that surround their identity. Most recently, they completed a year long project posted on Instagram every day on 2015. View this work through the hashtag #365yokoonoillustratedtweets and @lostboyillustrations.

LOSTBOY ILLUSTRATIONS is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked them a few questions about their work and artistic journey!

What/Who inspires you?

LOSTBOY ILLUSTRATIONS: I'm continually inspired by the strong community of queer & POC folks. I think it is essential that more and more people speak out about their differences to create more visibility of often times marginalized communities. I am inspired by outspoken women who refuse to stay silent. I am inspired by people who continue to wake up every morning when they are paralyzed with mental illnesses. I am inspired by those who never give up and use their creativity as an outlet.

What are you working on right now?

LOSTBOY ILLUSTRATIONS: The pieces I am working on for the show is a direct translation and interpretation of my mother's immigration story to the states in 1974 from South Korea. I am honored and thrilled to be illustrating her own words and feel truly proud of her strength and courage to write her own narrative.

How would you describe your artistic journey?

LOSTBOY ILLUSTRATIONS: That's exactly what it is... a journey. I've always created art and illustrations but for about 3 years I stopped. I'm so glad I picked up my pen again. I have recently started to make more consistent work and even got the opportunity to draw on Lady Gaga's dancer's costumes at the Grammys this year. My work has elevated itself from beyond the paper and I'm excited to see how my visceral line work continues to change using different canvases (ie: set designs, costumes, murals, etc).

See more of their work on w ww.lostboyillustrations.com // Instagram @lostboyillustrations // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.

Artist Interview // JACE JUNGGYU KIM

Jace Junggyu Kim is a Canadian painter currently based in Vancouver, BC. His career started off as an animator but his enduring passion is for traditional painting. His painting on canvas arises from the meeting and combination of various artistic materials; oil, acrylic, ink, spray paint and others. He posts daily sketches on instagram at @jacethekim.

Jace is one of the artists in the Journey-scapes art exhibition at the Gene Siskel in conjunction with the FAAIM 21st Annual Asian American Showcase April 1st through 14th, 2016. We asked him a few questions about his work and artistic journey!

What/Who inspires you?

Jace Junggyu Kim: I get inspired by everything around me to everything inside of me. My paintings work as a bridge between the reality and the subconscious. I often get anxious to paint my raw emotions and like seeing them personified by my brush strokes.

Dali with Magnolias, images courtesy of the artist.

What are you working on right now?

Jace Junggyu Kim: I am currently working on a commission painting for my client. The work is called 'Midas' lips'. I have sold the original and the client requested me to paint the same so I am struggling to recall the particular emotions and the brush strokes. The expression is different every time and really hard to capture the same vibe with it.

Daily instagram sketches, images courtesy of the artist.

How would you describe your artistic journey?

Jace Junggyu Kim: I have a major in animation. Coming from a such commercial art field provided me a tool to express. The contrast between working for companies and painting for myself really liberates myself from being constrained and limited. As much as I ran all the way around to do what I can truly enjoy doing, I acknowledged what it means to be working as a painter/visual artist. The effort and sacrifices I had to make to be where I am, are the reason why I do what I do now. I am not at my final destination and will not be there anyways since the journey is spontaneously continuous.

I Am Sorry Mom, images courtesy of the artist.

See more of Jace Junggyu Kim’s work on www.behance.net/apologies // Instagram @jacethekim // Join us at Journey-scapes art exhibition opening Friday, April 1, 2016.