Since the COVID-19 pandemic began spreading globally in 2020, reports of discrimination against Asians in the US have surfaced, including incidents of being pushed in subways, name-calling on the streets, and physical altercations. Among these instances of anti-Asian sentiment, I was particularly struck by a gun shooting that occurred at a massage parlor in Atlanta in 2021. The perpetrator, identifying himself as a sex addict, claimed that the massage parlor created temptation and proceeded to shoot 8 staff members, 6 of whom were Asian women. While the shooting was not directly related to the virus, it highlighted the racial and gender discrimination faced by Asian women in contemporary US society. In response, support groups consisting of Asian women began to form, sparking a new social movement. This emergence of activism inspired me to use art to explore and critique the stereotype that “Asian massage shops equal sex venues.”

During the early stage of my residency, I investigated related sites, visiting massage parlors in Chinatown, Manhattan. I photographed the storefronts and observed that most signs featured images of a masseur’s hands and a customer lying face down. The hands, depicted on pale skin, were shown pressing, kneading, and pushing, with the owners of the hands rendered invisible, creating a stark contrast with the clearly visible body. Just at the same time, I began exploring the role of neon lights in urban visual culture. I was fascinated by the deep connection between this nostalgic craft and nightlife. Neon lights, with their simple lines and vivid colors, serve as powerful carriers of cultural messages. Despite the rise of LED lighting, neon remains a staple for some message shops, bars, and nightclubs. While it may appear somewhat outdated, neon lights evoke a sensual excitement and allure that digital screens cannot match.

Toward the end of the residency, I rented glass-making facilities from Brooklyn Glass to work on neon lights. I invited artist Yasimine Anlan Huang to work with me, and together we decided to combine neon lights with silicone materials. We applied a thin layer of silicone over the neon light tubes, mimicking the sensation of skin being kneaded in a massage bed.

The International Studio & Curatorial Program (ISCP) residency not only provided resident artists with studio spaces but also organized frequent field trips and studio visits. These activities not only helped me learn about various art institutions in New York but also allowed me to connect with artists and curators from around the world.

[Artwork presentation]
During the residency, I worked on several art projects at once. Undulating Terrian was one of them.

This artwork comprises 5 neon light tubes, silicone, ribbons, ropes, and bronze tubes. The neon tubes were coated with a thin layer of silicone and hung beside a window. Huang and I sought to challenge the conventional use of neon lights in the West by transforming their typically harsh lines into sensual brushstrokes. The silicone layer softened the brightness of the neon, and upon closer inspection, it resembles human skin marked by hair, dust, and impurities. Undulating Terrain disrupts traditional perceptions of massage parlor signage. Through the visual interplay of light and materials, this artwork offers a nuanced interpretation of sensuality and sexuality. A public talk was held at the ISCP’s Artist at Work, followed by an interview of curator Junghyun Kim from South Korea. In 2024, Undulating Terrain was featured in group exhibition OVERLOAD at New Uncanny by invitation.

Author: Ying Chiun Lee
Edited: Brix