10 Questions with Ulziitugs Enkhbold
Ulziitugs Enkhbold is a Mongolian artist currently based in Winnipeg, Canada. Ue is a 2018 BFA graduate from the School of Art, University of Manitoba. Ue works across multiple disciplines, and her practice is primarily concentrated around identity and heritage. Her paintings are often completed in oil, in a wide variety of sizes, and are dominantly figurative. Her sculptures are mainly ceramic.
Ue has shown her work in group exhibitions in Winnipeg, Canada, as well as Ulaanbaatar, Mongolia. She is an active member of the Winnipeg art community with her volunteering experience and membership involvement. Her current work consists of oil paintings that analyze the relationship between immigrants and their home countries.
Artist’s portrait - Ulziitugs Enkhbold
ARTIST STATEMENT
“Pulling from her own experience, Ue analyzes the relationship many immigrants may have with their home countries. She finds similarities between these relationships and romantic relationships. During her painting process, she considers those who have migrated to another part of the world and have had to leave their land, people, and culture behind with hopes to build better opportunities for themselves. To feel more at home in these new environments and maintain a connection with their culture, people bring memorabilia with them, such as traditional garments or objects that hold the sentiment. Like a romantic relationship, people also begin to idealize memories, perhaps reminded by types of smells or even certain times of the day. In several scenes, Ue has personified these feelings into a figure.
The flat and repetitive color planes show that many of these scenes are projected from imagination or memory rather than real life. Warm orange and red hues are used to convey a sense of warmth and intimacy. The main figures in the scenes are often depicted as searching for something or gazing in admiration with what they’ve found.”
Silent gaze at sunset, oil on canvas, 34 x 42 inches, 2021. Ulziitugs Enkhbold©
INTERVIEW
First of all, introduce yourself to our readers and tell us a little more about your background. How did you start getting involved with art?
I am a visual artist originally from Mongolia, currently based in Winnipeg, Canada. I am a 2018 BFA graduate from the School of Art at the University of Manitoba. From a young age, I've always been one to get uninterested in things easily. I would pick up new crafts like playing the piano or sports, but I wouldn't be able to practice it enough to become somewhat skilled at it. Being a visual artist was a clear choice for me, though, because it allowed for so much flexibility, and there are a plethora of mediums I can explore as I grow further in my career.
Your work reflects on themes such as identity and heritage. How much of your life is reflected in your are? And what are the aspects that influence your practice the most?
My current series, Visualizing You and Me, is heavily influenced by my heritage. There was a moment in my life where I forgot my first language and culture from living abroad for so many years. This terrified me, so I needed a way to reconnect, which explains the influence of heritage and identity in my work. Although, sometimes, I feel like I'm working on a research paper rather than an oil painting. This is because I met with an endless amount of topics I need to dig deeper into and analyze before I can call my work complete during the process.
Airplane, oil on canvas, 35 x 47 inches, 2021. Ulziitugs Enkhbold©
In your statement, you define the relationship with the homeland as a romantic relationship, sometimes idealized. People that live abroad, immigrants and expats, often feel like torn lovers, and only recall the best memories of their home countries. How did you evolve this thinking? And how do you transfer it onto canvas?
This particular view came to me during the period I was extremely homesick. I was thinking about how much I valued the memorabilia I had brought with me when I left my home country to live in the west. Utilizing these items that were meant to be functional wasn't acceptable anymore because I had emphasized the sentimental value behind them. These items were only to be admired from a distance now. I even romanticized certain times of the day because it reminded me of the clear skies of Mongolia, which was a contrast from my present environment. So, I began to analyze how objects and past memories become idealized by people, like myself, who were missing their homes. We saw with rose-colored glasses. I am also confident that my hopeless romantic trait was in full ignition during the production of this particular body of work. I couldn't help but visualize these intimate moments and personify them into a human figure in a few pieces. I also want to clarify that when I talk about this work, I use the word "may," which may be the relationship certain immigrants have with their home countries. I understand this isn't the case for all. I speak only from one perspective, one possible type of relationship, similar to mine.
What is your creative process like? What is your working routine?
I often begin with a thought-out plan of the composition and the general feeling I want to provoke. However, during the process, the color palette or figures in pieces are often rethought and reworked. I go back and forth with most of my pieces over several days or weeks on end. It's very uncommon for me to complete a piece in one sitting and be completely satisfied with the outcome.
Binocular, oil on canvas, 9 x 12 inches, 2021. Ulziitugs Enkhbold©
Gaze, oil on canvas, 9 x 12 inches, 2021. Ulziitugs Enkhbold©
Where do you find inspiration? What artists influence or inspire your work the most?
I've found that a large amount of my inspiration comes from my personal collection of videos, photographs, and audio I compiled over the years. This archive includes memories from my trips to Mongolia. I record everything. I even record mundane conversations my family has with one another or the sounds of the hustle and bustle of a nomadic family's busy daily routines (with permission, of course). I keep track of these moments because they become excellent resources for my work. Outside of this, I admire the work of Buryat performance artist Natalia Papaeva. I especially appreciate the sentiment behind her work, "Yokhor," which spoke on the endangered Buryat language. In addition, Mongolian artist Odonchimeg Davaadorj, whose work to me, feels beautifully delicate and emotional. Her work often carries motifs of nature and human experiences. Both of these individuals have been very inspirational for me because of the sheer amount of emotion they are able to bring out in their work.
I look forward to seeing more of their future work.
In your opinion, what role does the artist have in society?
I've always thought that artists, whether their work is visual, musical, or literary, are here to be storytellers. Even if we intend our work to be pointed towards past events or future predictions, the execution of our work is clear documentation of the present time. It shows how individuals in our time perceive the world and human emotion.
Orange Chair, oil on canvas, 20 x 20 inches, 2021. Ulziitugs Enkhbold©
What are your thoughts on digital presentations, like fairs and exhibitions, for artists? Do you think these are good opportunities?
These are definitely great opportunities for artists. Being an artist is essentially like being a one-person business. How often and the way in which our work is presented is crucial if we expect to earn a living off of it. Since quarantine began, I've been seeing a few virtual shows taking place online where you can use your computer mouse or cell phone to basically "walk" through a full gallery exhibition. I think it's been a great alternative for artists and gallery owners.
We all miss a lot of things from our lives pre-Covid. But is there one thing that you have discovered over the last year that you will keep with you in the future?
I think this past year has undoubtedly been challenging for many of us when it comes to not being able to be there for our family and friends physically. Missing major life events in the lives of our loved ones have been especially difficult. Being overseas, I'm used to communicating over video or voice calls.
To drink tea from your hands, oil on canvas, 23 x 32 inches, 2021. Ulziitugs Enkhbold©
You are also very active in your local community. What other interests do you have outside of art?
At this exact moment, it's been a bit difficult to get involved with too many activities outside of my artwork. With the help of a close friend, I have been taking up more indoor activities for myself, such as sewing. I hope to learn to make my own clothes over the long summer months to come.
What are you working on now, and what are your plans for the future?
Currently, I am working on the final pieces for the series. I have high hopes to have this series completed for a possible solo exhibition by the end of the year. In conjunction, I am researching ideas and themes for new possible work to come shortly after.
