Interview | New York-based Artist Yezi Lou

Yezi Lou (b. 1997, Wenzhou, China; lives and works in New York City) examines material culture, social phenomena, and syncretic spiritual practices within the East Asian diaspora through the reinterpretation of common objects and everyday contemplation. Working across painting, drawing, and ceramics, Lou’s work maintains a strong sense of material presence while deliberately cultivating distance and absence, often through layered, redacted narratives. Her investigations move beyond personal reflection, engaging broader social conditions through a deeply introspective visual language.

Lou is an internationally active artist whose work has been exhibited across Asia and the United States. Recent solo exhibitions include The Interrogation of Belongingness(2025) at the Broad Art Center, Los Angeles; Silent Observers (2024) at The Scholart Selection, San Gabriel; Under the Surface (2024) at A/W Space, Nanjing; Corner of My Eye (2024) at XELA, Long Beach.

Selected group exhibitions include presentations at Good Naked Gallery (2026); Unveil Gallery (2025, 2023); Steven Zevitas Gallery (2025); Cevera Yoon (2025); Gene Gallery (2024); Good Mother Gallery (2024, 2023); Venice Family Benefit (2024); Sasse Museum of Art (2024).

Family Photo, 2025, Oil on canvas, 48 x 60 in

Can you tell us about your background and how you started your artistic journey?

I am a visual artist and independent writer currently based in New York City. I studied Painting and Drawing at UCLA for my MFA and Illustration at the School of Visual Arts for my BFA. My artistic journey began without a clearly defined plan. My earlier background had little to do with academic art study or studio practice.

I would consider my practice to have truly begun during the pandemic years. Although I had already studied at art school, I didn’t yet have much agency to think independently or develop my own direction in making work. The geopolitical turbulence during the pandemic triggered countless thoughts and reflections, prompting me to think about my relationship with the world for the first time in a deeper way. I created most of my early works during lockdowns in different cities and later continued to develop this practice during my MFA studies at UCLA.

Egg Shelf, 2025, Oil on canvas, 30 x 40 in

How do you stay inspired and motivated to create new work?

My inspiration comes from daily life, in other words, from everything I experience. My work is highly observational, not necessarily in terms of style, but in the way it reflects on trivial matters and ordinary moments.

My practice is also shaped by personal experiences in relation to geographic space, such as my hometown and my life in America. Ultimately, my exploration moves beyond personal reflection, engaging with broader social phenomena through deeply introspective work that embraces ongoing transformation.

Shell, 2025, Oil on canvas, 24 x 36 in

Your work often includes everyday objects. What draws you to these kinds of subjects?

I pay attention to many things, and “objects” often function as an entry point into my explorations of belonging, nostalgia, and alienation. My paintings feature mundane objects stripped of their original economic value, reflecting shifting identities and human interactions beyond traditional social frameworks.

My fascination with consumer goods partly stems from growing up during China’s rapid transition from socialism to a market economy, when consumer items became symbols of status and began shaping social dynamics. The mass-produced toys, stationery, and decorative items that surrounded me during childhood reappear in my work as symbols of memory. These objects evoke nostalgia, not necessarily for a homeland, but for lost possibilities and unfulfilled aspirations. They embody promises that never fully materialized.

Yatchs, 2025, Oil on canvas, 60 x 72 in

How do you balance realism with distortion in your figurative work?

I think “reality” is a fluid concept that continually adapts across different historical moments and social contexts. Today, what we perceive is heavily influenced by the mass flow of information mediated through digital access and algorithmic infrastructures, where reality and distortion coexist.

My work introduces subtle glitches into this shared system of interpretation, disrupting conventional perception. These disruptions create a playful oddity that can both intrigue and unsettle viewers. This ambiguity reflects my desire to remain partially obscured within the work resisting direct social scrutiny while allowing space for reinterpretation.

My approach is not simply about capturing a subject with realistic precision. Instead, it holds space for emotion. I aim to convey a state of being through imagery, allowing a sense of familiarity to resonate with viewers while inviting them to explore deeper meanings.

Sisyphus, 2025, Oil on canvas, 48 x 60 in

What has your participation in Time Lag meant to you personally or professionally?

Participating in Time Lag is something I feel deeply grateful for. I have long paid close attention to Asian Art Contemporary and the community they have cultivated. I appreciate their dedication supporting Asian artists and presenting their creativity to a broader audience.

My research also engages with material culture, social phenomena, and syncretic spiritual practices in East Asia and the Asian diaspora. In this sense, collaborating with the curatorial team and participating in this exhibition feels like a natural alignment.