Pang lives and works in London, painting both in the studio and around the city. Most of her work can be found in London, and she has painted walls in Rome, Lisbon, Paris, Vienna, Palermo, Marrakech, Ibiza, Seville and Poznan.
Exploring themes of psychology, mass social behaviour and the human condition, her work contains a grisly, humorous narrative that vividly expresses her morbidly curious nature, and the more awkward questions regarding social facade, the inner-self and humanity’s constant struggle between the two.
Pang has work in our auction at The Other Art Fair and we couldn't be more delighted. Take a look through the cards to see which is hers.
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You studied classical painting at an atelier in Italy for four years, how did you make the transition into street art?
It was kindly pointed out to me that my work would look good on walls, and using this lovely idea I just started from there! It began with tiny drawings scrawled onto walls and escalated from that point onwards.
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How would you describe your relationship with artists and artworks of the past?
I have always loved art and began drawing as soon as I could hold a pencil aged 2. My relationship with artists and artworks has been broad - some artists and artworks have inspired me beyond belief (Dimensions of Dialogue by Jan Svankmajer for example, Guernica, Muto by BLU, to name but a very very few) and of course others have been less inspiring for me, but always motivating nonetheless. This question is somewhat broad, but I guess I can say with conviction I am a huge lover of art, artists and artworks in general! Art is necessary for both the individual (whether as a viewer or maker) and the wider audience for so many reasons.
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How do you choose the location for your street art? Is there always a relationship between the artwork and the location?
Often I am offered a wall, in which case I will take the surface and shape / size of the wall as a starting point. It really depends if the work is commissioned or perhaps painted without permission - it also depends on my mood, my current themes and what subject matter I am looking into at the time. There does not have to be a relationship between the location and the work for me to get excited - but many artists work with location and community in mind and for that I have a lot of respect. It's definitely important to me not to upset anyone or make artworks that would be received badly by the people that have to walk past it everyday!
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Your ‘miniature assholes’ figures are very intriguing, can you tell us more about these figures?
The Miniature Asshole pieces represent a series of struggles. They very crudely show a battle between classical and contemporary art, both jostling for centre stage in a world where street art is becoming more acceptable by the day while certain traditional art forms are slowly dying off.
In street art where ego can take over between artists I found the idea funny to just paint over myself. This can be a problem - artists painting over each other.
More personally than that, they represent an inner battle between me and that part of myself who tries in vain to emulate the Old Masters. The drive to improve my skills as an artist can compete with the feeling to give up sometimes, which is an important battle for any artist.
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Why is humour important to your work?
Humour is important to my life, and I guess this bleeds into my practice quite often! As a person, I am both very intense and extremely silly, so it can really depend on my mood during a certain period. If I am looking into subjects that are rather serious, this will also translate, but it does seem that I cannot help but incorporate things that to some would seem funny, and others would find grotesque. Think about how horror films are viewed! I've always been a fan of the macabre and creepy - which can be received in so many ways depending on who is looking at the work! Artworks tend to say as much about the viewer as the artists themselves.
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Your work often explores themes of psychology and human nature, how do you think street art can address these themes in a different way to fine art?
I don't see any difference actually - except in size! Although going back to the viewer, street art does seem to be bathed in an aura of light-heartedness, which makes sense considering there are few choices in walking past a building and noticing a gigantic artwork - perhaps artists have to be a little more aware of their audience - whereas in a gallery you actually have to walk inside and look around. I suppose accessibility is the keyword, and from there, it can go anywhere.
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Your work seems to be constantly evolving, can you give a hint as to what’s ahead for you?
I am currently working on a series of oil paintings, and of course they are macabre - in this case they relate to cycles of life and individual history. I am also obsessed with loads of things, and want to write books, make films and produce sculptures. And make clothes. Too little time, too much to do! Wish me luck.
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Pang's work is part of the Art on a Postcard Secret Auction at The Other Art Fair in Bristol this week. See if you can spot it. Browse all the lots in the action
HERE
or download the catalogue
HERE
