Mathew Tom Blends Tradition And Imagination Into Captivating Visual Worlds
Photo: Mathew Tom redefines contemporary art with his bold, intricate, and heartfelt fusion of traditions, perspectives, and visual narratives.
Exploring Duality, Cultural Fusion, And Utopian Visions
Mathew Tom masterfully unites Eastern and Western influences, redefines cultural imagery, and creates surreal worlds brimming with symbolism, emotion, and storytelling.
Mathew Tom stands as a remarkable voice in the contemporary art world, a true alchemist of cultural fusion and visual storytelling. A Chinese-American artist based in Brooklyn, Tom’s work bridges continents, traditions, and eras in a way that feels both deeply personal and universally resonant. Through his ability to seamlessly weave together influences from Korean minhwa painting, Disney cartoons, European art, and his bicultural identity, Tom creates layered worlds that challenge the boundaries of cultural ownership, iconography, and imagination. With exhibitions spanning the globe and a resume punctuated by prestigious residencies and fellowships, his art speaks to an ever-curious mind and a heart full of exploration.
What makes Mathew Tom’s work exceptional is his fearless pursuit of complexity—his ability to hold together seemingly opposing forces. His paintings are at once playful and profound, rooted in tradition yet thoroughly modern, and invite the viewer into utopian visions where dualities are embraced rather than reconciled. Through motifs like tigers, inspired by Korean folklore, and pop imagery shaped by his Florida upbringing, Tom reshapes the familiar into something entirely new and thought-provoking. His monochromatic technique, combined with an ambient lighting style and diverse references, unifies disparate elements into a cohesive language that is uniquely his own.
In this issue of WOWwART, we are thrilled to present an intimate conversation with Mathew Tom, where he takes us into his creative world—a space that questions power, mythology, identity, and the ever-blurring line between fantasy and reality. Prepare to embark on a journey where traditional narratives merge with contemporary perspectives and where art becomes a celebration of fluidity, freedom, and unrestrained love for cultural storytelling.
Can you share how your background as a half-Chinese, half-American artist influences your work and how you navigate the blending of cultural traditions in your art?
Being mixed often places you between two worlds, creating a sense of isolation from both. You become an outsider in each society, and as a young person, that was frustrating. I didn’t automatically fit into a single category. But as an adult, I now see this as a form of freedom. Being an outsider means I don’t have to follow the same rules or norms as others. It allows me to blend and experiment with Chinese and American cultural elements in ways that resonate with me personally, without feeling restricted by what others deem “appropriate.” I try to be as authentic as I can to myself.
“Being an outsider means I don’t have to follow the same rules or norms as others.” –Mathew Tom
The “Society of Friends” is a fascinating concept. How did you come up with this world, and how do you integrate the cultural elements of both Asia and Europe to create your utopian vision?
I lived in India for 6 months after college. It was my first time leaving America, and it was a complete shock to me. I became interested in Gurus and I would visit temples all over the country. The idea of a utopian commune appeals to me. However, when I would visit the Ashrams, the illusion was shattered. The community I desire doesn’t exist. I realized that the search was what I was really after. So, I created the “Society of Friends” in my artwork—a world that questions ideas of power, wealth, religion, and the blurred line between reality and fantasy.
The idea of tigers transcending their typical associations is intriguing. Could you talk more about how you use animals in your artwork and what they represent in your larger mythology?
I studied Korean Folk painting, or Minhwa, in Gwangju, South Korea, where the tiger is both ferocious and a guardian. It’s fierce to ward off evil spirits, but its image is also used to protect the owner. In my own paintings, I embrace this duality: sometimes the tiger is a guardian, other times it’s more of a predator. I’m drawn to the idea of it being both good and evil. Other animals in my work share this duality as well. For example, birds are often depicted smoking or engaging in “bad” behavior, which contrasts with their usual, innocent image.
Growing up in Florida, you were influenced by pop images. How do you see the role of pop culture in art, and what significance do you attach to it when combined with traditional art forms?
Growing up in Florida, I was immersed in the Disney aesthetic, especially living near Disney World in Orlando. It wasn’t until I moved abroad that I realized how deeply this pop culture influence had shaped me. The more I encountered other cultures, the more I began to see pop imagery as a form of modern religious iconography. For example, when I lived in India, I noticed that stories of the mischievous baby Krishna weren’t so different from the playful antics of characters like Donald Duck or Mickey Mouse. The roles of these stories—both moral and playful—seemed quite similar. This led me to wonder: could I combine the pop imagery I grew up with and traditional art forms? To my surprise, they fit together perfectly.
You’ve studied Korean minhwa painting and draw from a wide range of sources, from Ukiyo-e to Disney cartoons. How do you balance these various influences in your art while maintaining a sense of your own voice and message?
After I studied Minhwa, I came back to the US and decided to try to be able to paint anything in my own style – whether it was Minhwa, Disney Characters, European painting, whatever. I found that it didn’t matter what I painted as long as I painted it with all my heart. My paintings are always monochrome, or one color, and always using the same form of ambient lighting shading. Because of the unifying style, the images combine themselves and people aren’t able to recognize their original sources. For example, I am a huge fan of Hans Memling. I use his praying hands motif often in my worlds. People assume it is an Asian reference and are surprised it is from a German painting from 1470. I feel certain images have a power that can transcend geography.
The idea of cultural appropriation is important in your work. How do you approach this topic, and what do you hope viewers will take away from the ways you juxtapose Eastern and Western imagery?
I find the concept of cultural appropriation interesting because it often feels arbitrary. For instance, when I studied Chinese vases, I learned that the iconic blue-and-white porcelain actually originated in Iraq. This made me realize how flexible and malleable cultural imagery can be, shaped more by perception than by reality. My goal is to create works that blend my own heritage while also showing that these ideas of cultural imagery are fluid. What I hope viewers take away from my work is a sense of the love I have for the references I use. The pieces aren’t made out of cynicism, but really made out of love – love for traditional images and love of making works to the best of my ability. I hope that the audience can feel that too.
Like What You See?, Oil on linen, 30” × 36” (76 × 91 cm), (2023)
Mathew Tom’s “Like What You See?” is a mesmerizing tribute to human connection and nature, masterfully bathed in vibrant magenta hues. The surreal composition, featuring two stylized figures interacting intimately amidst a lush tropical backdrop, speaks volumes about Tom’s ability to blend simplicity with depth. The inclusion of symbolic hands, decorative vessels, and hovering birds only enhances the dreamlike quality of the piece. Tom deftly crafts a tranquil, romantic atmosphere, leaving viewers enchanted by the graceful balance and harmony he achieves in this captivating artwork.
EDITOR’S HIGHLIGHTS
Empowering Art & Artists Globally
“Being featured in WOWwART means gaining visibility not just in print edition, but across the entire media spectrum in the US, UK, Europe and beyond”
EDITOR’S HIGHLIGHTS
Media, Art and Artist
Media is a powerful tool to build relationships, boost visibility, influence decisions, and create lasting impressions for success and growth.
