I modified Taya’s design again for a bit. I made her coat oversized and gave her bad posture. I changed her collar a bit too. I think it shows off her personality more. She definitely has books sewn into that coat. She gets mad when one of those books gets stabbed instead of her.

Happy Monday everybody! I hope that you are all doing well and had a restful weekend. Last Friday, March 10th I had the incredible opportunity to be a featured artist for the MA:E x Stamps Gallery. This took place in the Rogel Ballroom at the Michigan Union from 6-8 pm and was a wonderful night of art and company.

I was approached by MA:E Magazine to be a featured artist for this event which was in commemoration of AAPI (Asian American Pacific Islander) Heritage Awareness Month. At this gallery I showcased my portfolio as it pertains to my journey of accepting and finding pride within my identity and culture.

Growing up in primarily Caucasian society, and over time, veering away from the strict traditions of my culture, I have found myself torn between following in the footsteps of my ancestors and creating my own path. This is an aspect that I choose to discuss heavily through my art, the culture that I was born with versus the culture that I have grown up amongst, and the difficulties that come with being pulled constantly in different directions. As time has gone on, I have come to find solace in my culture while continuing on my own self-made journey. I have chosen to accept the traditional parts of the Indian lifestyle as another part of the beautiful culture. However, now I choose what I want to be a part of my story. 

Through my art I demonstrate this initial internal battle and then my road to pride within my heritage. Starting in 2019 when I created “Modern Brahma” to now, shortly after finishing “The Festival of Colors”, I depict a clear shift in my tone and attitude towards my upbringing and shine a new light on who I am within my culture. From starting off as resentful towards my heritage, which I demonstrate in some aspects of “Modern Dhulan” and “Modern Brahma” to now when I have found pride and my own identity within my culture. I show this is the countenance of “The Festival of Colors” and “Govardhan” which shows a prominent religious scene in Hindu scripture and is a recreation of a wonderful painting by Bijay Biswaal, an incredible Indian artist. “True To My Roots” is a bridging piece, depicting my fight to be true to myself and pull away from anything and anyone trying to hold me back. 

For anybody that happened to be at the event, thank you so much for attending. It was a wonderful experience. We had some wonderful speakers share their own experiences as Asian Americans and round out the event in a wholesome and beautiful way.

As always if anything that I discussed in this post stands out, or if any questions arise please feel free to comment and share your thoughts!

Looking forward to next Monday!

~ Riya

Instagram: @riya_aggarwal.art

Personal website: https://theindianartist.weebly.com/

I must be comfortable in the chaos. 

My nerves don’t control me

My worries don’t control me

Other people’s perceptions, 

Do not have to affect me.

I can choose when I yield to my sadness.

I’m prepared I’m capable,

I’m trying my best.

I do not need to accept judgment. 

I can overcome unsatisfied desires. 

Do not weep over lost time 

Give yourself grace

Continuing my three-part series seeking to shed light on early Asian American actors and actresses in Hollywood, I decided to paint a piece dedicated to Anna May Wong, known as the first Chinese American Hollywood movie star. Famous for her roles in films in the 1920s and 1930s, Wong gained international recognition, helped humanize Chinese-Americans in the American public, and remains an iconic figure in the Asian-American community, receiving a star on the Hollywood Walk of Fame in 1960 and having an award named after her in the Asian-American Arts Awards.

Although Wong achieved high amounts of success during her career, she was also overlooked for leading Asian roles for “looking too Chinese”, with directors often casting white actresses instead. Famously, Luise Rainer (a white actress in yellowface) was chosen over Wong to play the character of a Chinese peasant farmer in “The Good Earth” (1937), a choice that was known as one of the most severe disappointments in Wong’s career. She was offered to play an evil prostitute in the film, but refused the offer, saying that “You’re asking me – with my Chinese blood – to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters”. Frustrated by the type of roles she was offered in America, Wong later moved out of the country and went on to star in numerous hit films. Wong’s staunch refusal to play such negative depictions of Chinese and Asian characters in a largely discriminatory and racist society has cemented her legacy in the Asian-American community.