CHOICHUN LEUNG’s solo “The Watchful Eyes” reviewed in The Washington Post

Arts & Entertainment

Review

In the galleries: Artist’s imagery examines community-building in the aftermath of trauma

Choichun Leung’s decade-long Young Girl Project focuses on a show of solidarity

By Mark Jenkins

Contributing reporter

February 4, 2022 at 6:00 a.m. EST

Choichun Leung, The Watchful Eyes, 2021, 64″x55″, acrylic, pen and graphite on canvas. Courtesy of the artist and Morton Fine Art.

In Choichun Leung’s “The Watchful Eyes,” a show of paintings and drawings at Morton Fine Art, the drawings seem to dominate. That’s not because the paintings, which are bigger and more colorful, are less compelling on their own terms. But the black-and-white renderings of girls, which speak to the artist’s concern with childhood sexual abuse, set the tone for all the work. Images from the drawings infiltrate the paintings, where they become more abstract yet remain charged and haunting.

Leung is a Chinese-British artist who grew up in Wales and is now based in Brooklyn. She performed traditional Chinese music and earned a degree in metalsmithing before teaching herself to paint. Her original style was abstract and aqueous, suggesting the sea that laps three sides of her childhood homeland. There are glimmers of that style in Leung’s more recent work, but the pictures are dominated by the figures of girls, often banded together as multitudes. In the show’s title work, dozens of heads float amid a profusion of disembodied hands and dotted lines that represent energy flowing within and among bodies.

This show marks the 10th anniversary of the Young Girl Project, an anti-abuse organization Leung founded in 2012. A drawing the artist made that year, “Bound Girl,” shows a child wrapped almost entirely in rope. That captive figure reappears in later works, but always accompanied — in an imagined show of solidarity — by other, unfettered children. In the strikingly arrayed “Girl Gang,” from 2020, a tight cluster of dark-haired heads is surrounded by smaller heads in the distance. (Perhaps because they’re in some sense autobiographical, the girls in these pictures always appear Asian, but a wider array of ethnicities, as well as a boy, appear in Leung’s drawings on the Young Girl Project’s website.)

Brightly hued and more complexly composed, the paintings place the girls in appealingly surreal landscapes. Leung once worked as an assistant to pop artist Peter Max, and her pictures have some of his comic-book-like directness and verve. In such pictures as “Four Girls in the Dreamworld,” rendered in ink and gouache, the hard-edge figures move among soft shapes and watery colors. Leung’s glowing reveries are animated by trauma, but they can look like places of refuge.

Choichun Leung: The Watchful Eyes Through Feb. 17 at Morton Fine Art, 52 O St. NW, #302. Open by appointment.

Available Artwork by CHOICHUN LEUNG

CHOICHUN LEUNG | Cultured Magazine

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Choichun Leung Uses Art to Communicate with Survivors

The painter shares her latest body of work, her nonprofit and how the two have created pathways towards healing from childhood sexual abuse.WORDS

• Abigail Glasgow

January 19, 2022

Choichun Leung is, as she puts it, the “product of a Chinese takeaway upbringing.” The artist grew up in Wales—her mother from the UK, her father from Hong Kong—where, from a young age, she began cooking and working at the family restaurant. She says that while her father was also creative, his circumstances as a Chinese man in the 1950s meant he wasn’t able to act on it; but as she watched him draw or make things with chopsticks after work, she caught on. She has a clear memory from about three years old of making playdough sculptures for a school competition. As a shy kid, Leung says art often allowed her to communicate—both with others and herself: “Art was my imaginary world that helped me disappear from my reality.”

Chiochun Leung in her studio. Photography courtesy of the artist.

With time, Leung had her hands in various mediums, and eventually chose to pursue metalwork with her education. She felt both a spiritual connection to the trade—she recounts visits to Chinese monasteries in her late teens that inspired a “fascination with ceremonial objects”—and believed it was a function that had to be learned, from welding and forging to raising a bowl. She believed that painting, on the other hand, would come from her. And it did.

Leung had always been a doodler, oftentimes depicting the heads of three Chinese girls in her work. Once, a friend asked why she stopped drawing at the characters’ heads: “He said, ‘why don’t you just carry on drawing the bodies?,’ and I began to feel that self-restriction telling me a story. I realized what was covered was a story of all the emotion that I had kept in.”

Chiochun Leung, Subconscious. Conscious., 2019. Photograohy courtesy the artist and Morton Fine Art.

In the years that followed her friend’s prompt, Leung began to visually communicate with herself, drawing more and more Chinese figures as she reconciled memory and healing. “When I was drawing,” she shares, “I was remembering how I felt as a child.” At around age six, Leung has a memory of being sexually abused, and because she never approaches a painting with an intention, she shares how the story of her past began to reveal itself to her, thus fueling her journey as a survivor. Today, Morton Fine Art in Washington, D.C. opens Leung’s solo show, “The Watchful Eyes,” which amalgamates previous work from her journey with The Young Girl Project and otherwise.

Chiochun Leung, The Watchful Eyes, 2021. Photography courtesy the artist and Morton Fine Art.

As she has begun to exhibit these paintings, Leung has witnessed how her work catalyzes dialogue around childhood sexual abuse. “These young kids are so open when they see the work,” Leung says. She shares that children will point out certain parts of her work—a girl hiding, a depiction of self harm, hands up to cover a child’s face—and ask what they mean. “I’ll say, ‘Well, she’s upset because somebody touched her vagina,’ or another graphic action phrased in a way that is most accessible to children.” Consequently, Leung’s paintings have become a channel for conversation around consent, allowing parents and their children to have honest dialogue around traumatizing events. Leung’s ability to document her own stories, both subconsciously and more advertently, has become a source of relief and education for many.

This year, Leung has turned her series of paintings and their ensuing discourse into an nonprofit, The Young Girl Project, that strives to destigmatize conversations around the sexual abuse of children. In conversations with survivors, Leung says she observes children feeling understood. In addition to being a resource for help, the organization asks that everyone who sees the project share it with five friends in some capacity. “We’re working to take something that is taboo out of that arena [and] into the mainstream in order to dispel shame,” the artist explains.

Chiochun Leung, Backward. Forward, 2019. Photograohy courtesy the artist and Morton Fine Art.

As for why she thinks her work has resonated with survivors, it all comes down to art as an integral method of communication, particularly for children. “Children that have been abused don’t have the words to express it sometimes,” she shares. Almost accidentally, Leung has mimicked the work of therapists and community workers who are identifying cases of sexual abuse. “Using art helps [children] discern what has happened to them—by asking them to draw or observing the subject matter of their [existing] drawings,” she says.

Ultimately Leung hopes to create a community that advocates for the most vulnerable facing of sexual abuse. And, in doing so, she wants to teach children to think for themselves. “This is about defying authority—saying no to an adult who’s telling you to do something you don’t want to do,” she shares. “It’s all about connecting to your gut and your intuition. If you feel something isn’t right or wrong, trust that and act upon it.”

Available Artwork by CHOICHUN LEUNG.

NATE LEWIS, ‘Remember What They Did’ Billboard Campaign Seeks To Inspire Voter Turnout

 

‘Remember What They Did’ Billboard Campaign Seeks To Inspire Voter Turnout

By BILL O’DRISCOLL • SEP 7, 2020

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  This billboard designed by Nate Lewis is posted on Washington Boulevard, in Larimer.

  IMAGE COURTESY OF REMEMBER WHAT THEY DID

Artist Nate Lewis spent nine years as an ICU nurse in the Washington, D.C. area. And the Beaver Falls native has been more than a little aggrieved by public discussions of the coronavirus, especially how Donald Trump has downplayed the pandemic. But a new billboard campaign is giving Lewis and other artists a chance to shape the debate themselves.

Artist Nate Lewis grew up in Beaver Falls.

CREDIT REMEMBER WHAT THEY DID

“There’s a lot of trust that has been lost because of the President, really — his disregard for science and his disregard for caring for people,” said Lewis.

Speaking of the virus on July 1 – and echoing a frequent talking point of his — Trump said, “that’s going to just sort of disappear, I hope.” The illness has now claimed nearly 190,000 lives in the U.S. Trump’s words are featured in Lewis’ contribution to Remember What They Did, a new, artist-driven billboard campaign meant to spark voter turnout in battleground cities.

Lewis’ design pairs Trump’s quote with the image of a CT scan of a COVID-19 patient. Lewis used the image because “it’s an eyewitness account… about how real this virus is.”

In late August, the billboard was pasted up high over Washington Boulevard, in Larimer, and on North Craig Street, near Bigelow, in the Upper Hill District. In all, there are four Remember What They Did billboards in Pittsburgh, and 10 others split between Detroit and Milwaukee. The campaign targets communities with high concentrations of voters who are young, Black, or Latino. A spokesperson for Artists United for Change, one of the nonprofit groups behind the initiative, said it will ultimately include “dozens of billboards … and hundreds of street art posters” in six cities total.

Artists United for Change is a political committee tied to progressive groups.

There are now seven billboard designs, each by a different artist. The artists include internationally known names like Shepard Fairey (known for his “Hope” poster of Barack Obama) and Swoon (a.k.a. Caledonia Curry, who coincidentally just opened a solo exhibit at Pittsburgh gallery Contemporary Craft).

Six of the seven billboards feature Trump quotes, including “fine people on both sides” (describing counter-protesters clashing with white nationalists in Charlotesville, Va., in 2017), and “When the looting starts the shooting starts,” regarding social-justice protests in May. A seventh billboard targets Sen. Lindsey Graham for saying “I don’t care” in regard to the lengthy detention of migrants at the U.S.-Mexico border.

The initiative’s partners in Pennsylvania include liberal group Keystone Progress. All the billboards feature the injunction “Vote Them Out.”

Lewis’ artwork has been exhibited in galleries around the U.S. He said he left Beaver Falls in 2003, after high school, to study nursing. He took up art while still a student. In 2017, he quit nursing and moved to New York to pursue art full-time. He now splits his time between New York and Washington.

Lewis’ work is often politically themed, and he said he hopes Remember What They Did inspires discussion.

“I hope that it reaches the young people … who aren’t pleased with the current administration, who aren’t pleased with the continual division that’s being sown,” he said. “I hope the people who want to vote the president out, that it sparks them to take action, really, to spread that action, to vote and use their right so that we can hopefully just move forward.”