The writer and activist shares how art has helped her process her trauma and what it means for her work to be shown in the Asian Art Museum.
about her path to becoming an artist, how drawing has helped her process and understand grief, and how she hopes her creations will help her and other survivors reclaim their voice and visibility.
In college, when I'd had a rough day, I would go to the student book store and get these huge pieces of white card stock. I’d bike home with them, spread them out on my floor, and draw for hours and hours. As long as I had a pen to create a line, all I had to do was follow that line for hours.My trial was in 2016, which was the year of the monkey in the Chinese zodiac calendar. That's"my year," because I was born in 1992.
With the book, I worked for three years to put out something that was so meticulously crafted. I was conscious of every word and period put into that book. With drawing, I want to preserve that raw state, that experimental state, just make a feeling visible. Art also allows me to remain in the states of grief and trauma, rather than try and scurry out of them or deny them. I think that's art's greatest power.
The piece in the Asian Art Museum is three panels, but you don't need to read them left to right. I think of them as interchangeable panels. There's no correct step you're supposed to be on, especially when it comes to healing. You could recede; you could excel; all at different times. It's about respecting that process and not thinking about arriving anywhere or achieving anything because there is no"end point" to processing trauma.
I like that my art is out in the open, and it's unapologetic. And those creatures can greet you during any time of day. Hopefully, they are gentle creatures of comfort. I love the idea of them living on that corner and being able to connect with anyone who walks by.Courtesy Chanel Miller, Asian Art Museum
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