Artist in conversation: DANA GOH
Dana Goh is currently pursuing a Fine Art BA Hons degree as a Vice-Chancellor’s Global scholar at Newcastle University. Additionally, she is the Visual Arts Coordinator and curator for AMADEUS Festival. During her teenage years, she studied at Amadeus International School Vienna and was part of the AMAA Advanced Art Programme.
Among her notable accomplishments are her performance at the Singapore-Austria 50 Years Friendship Celebration Ceremony in 2016, her commissioned collaborative artwork for the IBO 50th Conference in 2018, and being awarded the Vice-Chancellor’s Global Scholarship at Newcastle University in 2019. Her artwork has been selected to be featured on the cover of AMADEUS Festival Vienna 2022, and she has also been commissioned to create a permanent installation that will be displayed on the ground.
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What initially inspired you to become an artist, and how did you develop your unique style?
Art has always been a part of my life. Ever since I can remember, I have always been involved in the creative
arts - drawing, painting, music, etc. It has become a subconscious puzzle piece of my personality and follows me daily. This unique style developed quite recently from my self-reflection. I was trained in Vienna to draw classical drawings in an art academy (in high school). However, having the opportunity to dive into a different culture in the UK I was able to explore a more self-driven way of creating art. I was taught that a beautiful, perfect, planned drawing should be within the four-cornered piece of paper. This burden was restricting me to break free from the rules that I used to live by. Therefore, I took up an exacto-knife and carved away 'fragments' on paper. This way of making became the means to self-reflect on my self, identity, environment, and anything that is whole yet far from its entirety.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
My works are not driven by motifs or any form of implied imagery. As I love flowers and the beauty of fragility, it was natural that my art visually represents these imageries.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
The most challenging piece by far would be the 'Under the canopy of Mine' which will be presented at the Newcastle Fine Art Degree Show 2023. This work consists of 3 large papercut sheets that go up to 1.5 x 2.5 metres big, hung up with threads to create a nice cloud-like forest experience. I overcame the struggles by having good time management and motivation!
How do you stay connected with other artists and keep up with new developments and trends in the art world?
Social media is a major reason why artists in the contemporary world are able to stay connected and informed.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
People have their own biased opinions and it is good to approach even negative comments with an inquiry - Why did they think this way? What can I do better? Some criticism can hurt at that moment but I believe if you take it with a good heart and build on the comments (not saying that you need to change your practice to please people) you never know where you can develop your art practice towards.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I will be honest, I do not really get any artist's block. I used to when I constantly planned and paid attention to the minute details. The reason why I do not face any artist's block is that I make art for the sake of making art and for my own joy of creating art.
In your opinion, what role do contemporary artists play in society, and how does your work contribute to this role?
Artists are the creatives. No one needs to 'claim' to be an artist to be an artist. I believe that creativity is vital in any industry. Artists have the ability to tell a story, speak about issues, provoke reflection, help others and so much more.
In a sense, even if my artworks are selfish in a way that it is my own reflection of my own perception if even one person takes their time to reflect on themselves through my work it is worth the number of hours spent in the studio.
What do you see as the most pressing issues facing contemporary artists, and how do you plan to address these challenges in your own work?
The most pressing issue that I see is the 'imposter syndrome'. I have met many amazing artists who doubt themselves because their art has similarities with one another and there is a constant comparison with 'similar artists'. I do not plan to address this issue in my art but possibly through my art making. There are countless papercut artists who possibly create very similar work to mine. But, I stay true to the influences in my art. If what I create is similar, not a copy of others, and was genuinely a result of my own development... it is still my art and maybe the other artist had a similar event that provoked a similar development!
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I am absolutely excited and honoured to be a part of the upcoming exhibition with The Holy Art Gallery. I have been eyeing the exhibitions for a while - the ones in London. However, as I will be continuing my studies at the Royal College of Art this upcoming academic year, I think it is a good opportunity to situate my work in a different city in New York!
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
My long-term goal is to build a career in art and possibly have my own studio. These are big goals in an uncertain world but I believe that if I continue to create art because I love doing it opportunities may come!
