BIO
Maia is a multidisciplinary artist based between Victoria and Vancouver, Canada. She holds a Bachelor of Fine Arts in Visual Arts from the University of Victoria, where she developed a diverse and technically rigorous practice spanning video art, photography, sculpture, special effects makeup, and film theory. She works heavily with media installations, creating immersive environments that draw viewers into layered sensory experiences. Her work is deeply informed by her identity as a Chinese, Bolivian, and Vietnamese woman, and reflects an ongoing engagement with the complexities of navigating multiple cultural frameworks in everyday life.
Alongside her visual practice, Maia has an extensive background in music production, often composing original audio using her own vocals to create textured, atmospheric soundscapes. Her interdisciplinary approach integrates digital editing, experimental animation, and audio-visual composition to construct cohesive, multi-sensory works.
Maia’s work has been presented in a range of exhibitions, including her solo exhibition A Dream in The Void, as well as collaborative projects such as Spillways and Be Not Afraid. She is currently developing new projects centered on three-channel installations, immersive portraiture, and integrated audio-visual environments that investigate intersections of religion, politics, and cultural identity.
Artist Statement
In my practice, I work across multiple mediums including video art, photography, sculpture, special effects makeup, experimental animation, and original sound composition. These mediums allow me to construct immersive spaces that integrate strong visuals with emotional and psychological depth. Conceptually, my practice is rooted in my own lived experiences and explores themes of cultural identity, religion, and politics. Growing up within the Catholic Church, my work often pushes against teachings and institutional structures I experienced as controversial, immoral, or hypocritical, particularly in relation to power and control. Recently, I have been mostly focusing on the intersections of church and state, societal power structures, and religious controversies. I strive to embrace a maximalistic approach with bold visuals, layered symbolism, and immersive environments that invite conversation. I aim to draw in even those who do not typically engage with contemporary art and encourage my viewers to reflect on topical political and social issues. My work also frequently explores tension between beauty and discomfort as well as horror aesthetics and the theory of abjection. I invite viewers to question what they believe, why they believe it, and how these beliefs shape the world around them.
