“Exploring the Power of Collaboration: An Interview with Artist Lap-See Lam”

Lam, a Chinese eatery located overseas, can embody various roles: it may function as a pragmatic enterprise aimed at ensuring economic viability, serve as a whimsical manifestation of magical realism intertwined with self-deprecation, or represent an authentic setting where families convene, childhoods are created, and cherished memories are established. Frequently, it encompasses all these elements and more. Lam recalls her upbringing in her family’s establishment, Bamboo Garden, situated in Stockholm. “It was a quintessential restaurant inspired by the Ming and Qing dynasties,” she articulates during a video call from her kitchen in Stockholm, positioned in front of a large vintage poster adorned in yellow and blue from an art exhibition.

The item in question is composed of porcelain. Additionally, she remarks, “the sofas are exceptionally comfortable,” accompanied by a laugh. “What makes the Chinese restaurant particularly appealing is its family-friendly atmosphere, correct? It allows for the presence of young children who can freely explore their surroundings. This is precisely what we did.” The -year-old artist has been creating works that draw inspiration from the global phenomenon of Chinese restaurants, alongside broader issues related to migration, cultural comprehension, and identity, since her parents divested their ownership of Bamboo Garden a decade prior. Her video installation, titled Mother’s Tongue, explored the historical context of Chinese restaurants in Stockholm through a lens of time travel, featuring fictional employees from these establishments.

In , the installation titled Phantom Banquet presented familiar dining elements such as a round table draped in fabric, solitary chairs, and vases filled with flowers, all arranged within an eerie environment. In April of this year, Lam achieved a significant milestone in her career by showcasing her work in the Nordic pavilion at the Venice Biennale. The exhibition featured an imposing dragon’s head and tail positioned at the entrance. Within the venue, attendees encountered a bamboo installation that extended from floor to ceiling, complemented by a one-hour film that chronicled the time-traveling escapades of Lo Ting—a figure from Hong Kong mythology characterized as half-man and half-fish—projected on various screens.

At London’s Studio Voltaire, a novel film will be presented within an expansive bamboo scaffolding structure. This exhibition in London partially builds upon Lam’s prior work showcased in Venice. The new thirty-minute film delves deeper into Lo Ting’s mythology, incorporating footage recorded within the Venice Biennale’s installation. It unfolds as a poignant, expansive tale encompassing tumultuous maritime journeys, tragic romantic entanglements, and deep-seated wishes for home. Rather than adhering to a conventional narrative format, it emphasizes mood and atmosphere, qualifying it more as a video installation than a traditional film, and is narrated by Lam’s father.

created in partnership with a bamboo expert in Hong Kong. According to Lam, the art of bamboowork is gradually fading, making it crucial to reconnect with the foundational elements of this craft that have been passed down through generations by the master. Lam’s familial ties to the restaurant industry trace back to the s, when her grandmother relocated from Hong Kong to London. “At that time, her husband had already gone ahead to seek opportunities in Chinatown. She chose to follow suit.

to offering tea. A chance to take on the role of a chef in Sweden presented itself—likely making her the first female chef at a Chinese restaurant during that period—and she eagerly seized this opportunity. Shortly thereafter, she established her own dining establishment, which enabled her to relocate family members from Hong Kong. They acquired the necessary skills and subsequently found themselves “dispersed across various regions of Sweden,” each managing their own businesses. “The connection of my family to the Chinese restaurant has significantly influenced our lives,” Lam reflects. During her childhood, Bamboo Garden “functioned as an extension of our household.

What we can learn

In conclusion, as we explore the intricate world of bamboowork through the insights of Lam, we are reminded of the importance of preserving traditional crafts that carry both cultural significance and familial heritage. With an art form as delicate and rich as bamboowork facing the threat of extinction, it becomes imperative to honor the knowledge passed down through generations. Lam’s journey from her grandmother’s pioneering spirit in relocating to London to her own commitment to revitalize this craft highlights the profound connections between family, culture, and craftsmanship. By supporting artisans like Lam and embracing their practices, we not only celebrate their artistry but also ensure that these invaluable traditions continue to flourish for years to come. Let us commit to reconnecting with these foundational elements and keep the spirit of bamboowork alive in our communities.