Born in Minhrpa (Banff), Treaty 7 territory, Mandy spent most of their formative years in Mohkinstsis (Calgary) and Hong Kong. After completing a BFA in Sculpture at AUArts in 2007, they moved to the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations (Vancouver) to pursue a career as a full-time artist. They’ve since exhibited paintings across North America, Japan and Australia. In 2015, they were given the opportunity to study tattooing, and have been dividing their energy between that and painting ever since.

Throughout their interdisciplinary practice, Mandy’s artwork focuses on themes of multi-racial identity, queerness, and neurodivergence. As a half-Chinese/half white settler living in disparate cities and cultures, their perspective has been shaped significantly by experiences of alienation and an identity that is constantly in flux. Because of their explorations around this, they’ve been able to meaningfully engage with their heritage and find community. Their practice as a tattooer, in particular, attempts to define and build upon the unique cultural symbols of East Asian diaspora.

How has being a tattoo artist and painter shaped your path in art and life?

I have always been interested in tattoos. When I was 12 years old, I researched different methods of non-machine tattooing (pre-internet!!) and tattooed my friend and myself. It was so difficult and completely unhygienic! I would not recommend it at all!! But it gave me an appreciation for the skill that goes into tattooing. At 17, as soon as my mom would sign the consent form, I got my first machine tattoo at a shop my friend recommended; the artist that did it happened to be James Tex. He made a passing comment about me becoming a tattoo artist because I’d brought my own art to be tattooed, and he’d seen my terrible hand-poke which he also offered to cover up lol. I’d always assumed he was joking about me tattooing, it seemed absurd to me at the time, but now I definitely think about the irony of that moment and how different my life would be if I had tried to pursue tattooing 13 years earlier. Likely, I wouldn’t have bothered to show artwork in galleries. I may not have even gone to, or finished art school. But also,the tattooing world has changed so much since then, for the better.
Art is just something I’ve always done. I spent all my time making art as a kid, using it to work out my emotions and connect with people. I’m very lucky that I was able to turn my obsession into a full-time career. I learned so much about running a business and working with clients, etc. I was able to build things up enough that my transition into tattooing was really smooth and I didn’t need to start from zero. I finally began tattooing after working full-time in art for about 10 years, when I started getting more and more requests to design tattoos. I had always turned them down because I knew I didn’t have the knowledge of tattooing to properly design things.
Eventually, I mentioned this to a few tattooer friends – Makoto Chi and Dwam - and they offered to help me learn. Tattooing has been such a great thing for me. I love that I get to meet my clients one-on-one and work with them to create a piece of art, the structure it brings to my life has made me much more balanced and happy, and I have so much more control over my business.

Have you always dreamed of being a professional artist? When did this career begin to happen for you?

While I’ve always made art, I actually didn’t intend to pursue art as a career. I went to art school to avoid taking foundation maths courses at university! I didn’t grow up going to art galleries or museums so I have a fascination with famous painters. I did have a moment where I wanted to get into comics though. I spent a few years, after graduating from art school, trying different things like fashion design, crafting kaleidoscopes, apprenticing with an artist (a very valuable experience), and, of course, working retail.
The turning point came when I made a cohesive series of drawings that people began asking to buy. Selling them wasn’t the intention behind the work at all, I’d been recovering from a sports injury + surgery and so was making art that was helping me process a lot of stuff. But it went from being a complete mystery as to how to make money selling my artwork, to being almost effortless, and I realized it could be viable to do it full-time. I started applying to galleries and had a few successful shows locally. Then I moved to Vancouver in 2009 and started showing regularly in galleries here and in California, where the scene suited my style of work at the time. It was also that special moment where social media felt really personal and connected, so I was able to sell a lot of work online without having to overthink anything or fit myself into any boxes.

Do you have any rituals or a common process when you are creating a painting?

It usually starts with an amorphous feeling and then I go through my reference image catalogue to find faces and things that speak to me. My most successful pieces seem to flow without a lot of thought going into them at the beginning. If I’m trying to start with a concept before beginning this process, it doesn’t turn out as well. I end up questioning and doubting every instinct, and the end result looks stiff or contrived to me. Those magical moment of fluid creation absolutely don’t happen when I need/want them to, of course, so when they do happen I put them in my sketchbook. When it’s time to make a painting, I’ll pull an image from that and flesh it out on the canvas.

Can you tell us a bit about the pieces you have chosen for this showcase? Any particular stories or inspiration behind them?

The scroll paintings are very new for me. I’ve always wanted to incorporate sewing and crafting into my paintings, as well as some reference to my Chinese heritage. I also really like that you can have a giant painting that covers your wall, but when it’s time to move, it rolls up into a small package.
As far as imagery, I’ve realized that humans appearing with, or merging into, animals has been carried through from the first drawings I made, both as a child, and as my first step into professional artist hood. Hybridity and metamorphosis are the over-arching themes, but in a more personal way, they reference mixed-race identity, queerness, neurodiversity and questioning ideas of femininity.

Any goals or upcoming plans for your art?

I have a month-long artist residency at the Shadbolt coming up in August, and I’m hoping that it’ll be a wonderful chaotic mess of giant new paintings or sculptures. I’m trying to give myself as much freedom as possible with it, so that I can just enjoy the process without anticipating the outcome. After that, if something tangible appears, I’d hope to show the work at a museum or non-commercial gallery, which I’ve never done before.

See more of Mandy’s art and follow them on instagram:
tattoos: www.instagram.com/harpyteeth
art: www.instagram.com/tigerdaughter_

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