The talented artist opens up about what gets him out of bed every day.

Nicholas Choong, a conceptual artist from Malaysia, needs no introduction, especially in the visual art and design communities. Colourful and traditional, Choong&rsquo;s work defies categorisation and blurs the line between art and life through the use of a refreshing style of expression, as he skilfully incorporates a wide range of found objects into visually appealing compositions that incorporate recognisable imagery from popular culture with bold patterns. &ldquo;My works talk about themes of societies and cultures, and about inner, personal development. They are about how we view the world; they are metaphors for living,&rdquo; he says. &ldquo;I like that my works speak to the inner child within ourselves. There is a playful and curious nature to these works.&rdquo; Yet, the sentiments they convey and the way they are structured exude a sensible air of maturity.

How is Pop art different from other styles?
Pop art, to me, represents a certain culture. Historically, artists like Warhol, Jasper Johns, Jeff Koons and Keith Haring were pioneers of the Pop art movement. In today&rsquo;s contemporary art world, Pop art has grown tremendously in terms of acceptance in popular and mainstream culture, backed by the efforts of Banksy, Kaws, Futura, James Jean and Daniel Arsham, to name a few, making it extremely accessible and marketable.
I think Pop art has an urgency that is unparalleled compared to other styles such as classical, baroque, modern art or abstract expressionism, and because of this urgency, it&rsquo;s very easy to get into it. Even children and young people can grasp its narrative.
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Have you ever had a particularly memorable interaction with a fan that impacted your work?
The short answer is yes, I have. I&rsquo;m always open to seeing how others react to my work. It&rsquo;s interesting to be able to connect with others and share their perspectives on how they view things. I think each individual has a unique perspective and worldview. No one is inherently right or wrong. There are billions of universes and ideas in our world today, and to say that this is wrong or right is quite limiting.
Everyone has, in some way, influenced me directly or indirectly as a person and as an artist. I think it&rsquo;s important to listen to people without judgement, but at the same time, to have inner resilience and determination and to pursue what is important for oneself. Art is, generally, a form of expression. Something we all do to make sense of the world.

How do you balance your artistic version with the expectations of your audience?
I think in recent years, my audience has grown significantly, thanks to the galleries that show and represent my works. In terms of expectations, I&rsquo;ve always been comfortable pushing the boundaries of what&rsquo;s cool or what&rsquo;s allowed &mdash; a bit like a rebel. So my audience realises and expects this character in my work. I&rsquo;m always looking to push beyond whatever limitations we, as a society or as individuals, possess. Of course, when it comes to expectations, they have to be managed. We make art first as an offering to the creative spirit, to ourselves as producers or makers of art, and finally for the community to which we are all connected.
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How do you handle criticism and use it to grow as an artist?
I think criticism is important and has its uses. No one lives entirely alone on an island &mdash; as much as we&rsquo;d like to. We are biologically geared to be social animals. I think young artists need to redefine the term &ldquo;criticism&rdquo; and what it means to them.
I think to accept criticism fully and objectively as a positive thing, one needs to put aside the ego for a while. The ego does not like being criticised. Constructive criticism is helpful. We all have our blind spots, and we operate from a very limited perspective. The human brain is a pretty lazy thing. It likes to store and put away everything for easy reference. The term &ldquo;autopilot&rdquo; refers to a function that the brain excels at, allowing it to operate at a level that is not too demanding. Otherwise, we&rsquo;d burn out very quickly.
Criticism is meant to show you various other points of view, and people should express what they feel and think. It&rsquo;s all valid. I try to listen intently to whatever people say. I think it boils down to self-responsibility. Being honest in your expression and prioritising your true values over the opinions of others. It would be impossible to please everyone. As an artist, you make work that pleases and resonates with yourself first. To truly express oneself, one must know oneself.

What is the most rewarding aspect of being a Pop artist?
As an artist, time is generally spent in the studio alone, or with assistants, creating new works of art. There&rsquo;s a sense of adventure there. Like a pioneer, seeking new territories and newfound lands. One gets to explore, not only physically or using materials, but also intellectually. By creating Pop and contemporary art, I&rsquo;m able to talk about issues that affect us as a society, but also on an individual level. This could be war, climate change, waste, economics, social or community issues, history, mental health, video game culture and the Internet. There&rsquo;s a myriad of discussions that can arise from the works. And of course, my favourite system is juxtaposition. Juxtaposition is the comparison of two separate, yet distinct, elements or subjects and the correlation between the two elements. Or spaces that they inhabit. A lot can be learned and discussed when using juxtaposition in an artwork. One can speak of two different things as well as a third: the relationship or differences between those two things. This is interesting to me.

Interview: Meet Malaysian conceptual artist, Nicholas Choong

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