The following conversation belongs to a series of interviews with Asian artists with international upbringings who have traveled across continents to share their art with audiences in both the East and the West, and sought to bridge the divide between identities and artforms. Their works have served as a powerful testament to Asian representation across the world. Myself a Korean-Canadian, I sit down with these artists to ask about their lives as eager students and inspiring mentors, travelers finding their way around roadblocks, creators of art. *** Violinist Sarah Chang has long astounded audiences around the world with her now-signature Romantic flair, technical precision, and full-arm bow flourishes. At the age of six, Chang started lessons at the Juilliard School, from when the title of ‘child prodigy’ followed her to her debut with the New York Philharmonic at age eight and her first album recording, Debut, at age ten.

The following conversation belongs to a series of interviews with Asian artists with international upbringings who have traveled across continents to share their art with audiences in both the East and the West, and sought to bridge the divide between identities and artforms. Their works have served as a powerful testament to Asian representation across the world. Myself a Korean-Canadian, I sit down with these artists to ask about their lives as eager students and inspiring mentors, travelers finding their way around roadblocks, creators of art. The first time I was tasked with writing a concert review was also my first Epik High concert at the Paradise Rock Club during their world tour titled “sleepless in ____.” I remember jotting down on my notepad—“Seoul-ed out” puns, lobster plushies, Tablo poking fun at his band members’ Korean spiels.

The following conversation belongs to a series of interviews with Asian artists with international upbringings who have traveled across continents to share their art with audiences in both the East and the West, and sought to bridge the divide between identities and artforms. Their works have served as a powerful testament to Asian representation across the world. Myself a Korean-Canadian, I sit down with these artists to ask about their lives as eager students and inspiring mentors, travelers finding their way around roadblocks, creators of art. Born in Thailand and raised in New Zealand, guitarist and singer-songwriter Phum Viphurit became a viral sensation for his mellow neo-soul, indie-pop, self-termed “hazy sunshine music and moonlight pop.” There is no single genre, though he thinks, that captures his music.

Interview by Woojin Lim and Celina Hollmichel The following conversation belongs to a series of interviews with Asian artists with international upbringings who have traveled across continents to share their art with audiences in both the East and the West, and sought to bridge the divide between identities and artforms. Their works have served as a powerful testament to Asian representation across the world. Myself a Korean-Canadian, I sit down with these artists to ask about their lives as eager students and inspiring mentors, travelers finding their way around roadblocks, creators of art. We met Eric Nam backstage at the Royale moments before his concert in Boston, one of many venues on his North American tour which were completely sold out. Clad in a flashy orange jacket, Eric sat cross-legged on a rolling chair, smiling at us.