Nina Vichayapai

2025

Risograph-printed photobook

This book shares a collection of photographs I took while in Thailand during 2025. On this trip I accompanied my parents as they oversaw a construction project for their future retirement home. As they prepared to leave the life they had built over the last 39 years in the USA, I contemplated through photography the things we have collectively shed and grown as a family.

2025

Participatory public event

Monument Speed Dating was an event that took place at the South Park Blocks in Portland, Oregon. Modeled after the set up of speed dating, people were invited to engage in several rounds of paired conversation. This mingling was supported by the provision of discussion prompts which asked questions on the subject of public space and personal memory. At the end of each round, participants were given clay and were asked to make a monument for their partner based on the conversation that they shared. To conclude the event all of the participants were gathered and led in a procession to leave their monuments on top of the plinth of the former Theodore Roosevelt statue which occupies the same plaza. 

In Monument Speed Dating I sought to discover if public monument-making could function in a vastly different way than the current process which exists for dedicating monuments. The monuments in this event were created in intimacy for an audience of one and existed only momentarily. The contradiction to traditional monuments offered a different approach to the idea of how memory can be honored in public.

Special thanks to Ame Morrison for documentation photography, and the Art + Social Practice program of Portland State University for supporting this event during Assembly 2025.

2025 - ongoing

Artist Residency

Since 1939 the Rose City Classic Dog Show has been taking place annually in Portland, Oregon. The multi-day event features agility competitions, obedience competitions, breed meet and greets, and plenty of breed confirmation judging. Since 2025 I have staged an unofficial guerilla-style artist residency at the Dog Show. Through observing dogs and dog lovers alike, surveying spectators, and inviting people to share their (impassioned) opinions on all things dog-related, I dive into the strange and wonderful world of dog shows each year to produce artwork from my observations and interactions.

2025

Collaboration with Ame Morrison

Embroidered and sewn moving blanket soft sculptures, archived family photos, photo-printed key chains, found trinkets

In this show, friend and collaborator Ame Morrison and I traced our personal histories and migrational lineages within the context of the roads we have traveled through the Western United States.

Inspired by my childhood memories which are framed by car windows, I reflect on the way my parents adopted the American pastime of road trips while being unapologetically Asian as we went on camping, fishing, and hiking trips with our rice cooker. For my family, road trips were an important way to situate ourselves within the American landscape.

For Ame, movement makes room for shapeshifting. They have found intermittent liberation from gender categories through road based travel and car living. For them, being transitory is analogous to transgender identity.

Our collaboration on Long Way Home explores otherness on the highways of the United States. This show joins my soft sculptures and family archive photos with Ame’s film photography. Together, we also collected trinkets and created photo printed keychains in honor of those we consider our ancestors in paving the path so that we could travel with courage. Through our friendship and collaboration, we reimagine the road as a site for possibility and pleasure beyond the white hetero-patriarchal culture that has dominated travel narratives in the American West.

Special thanks to Scott Bailey, Natalie Dotzauer, and Wenatchee Valley College for supporting this exhibition at the MAC Gallery.

2025

Gathering of horse lovers, google form, website, and various print media

A data-driven art project which collected the stories and stats of people identifying as “horse girls.” The project began as a survey delivered through a flyer which was posted around the city of Portland, Oregon.

The responses from the survey generated several iterations of the project. Answers to the question, “what advice would your dream horse give you today?” were turned into pull tab flyers. The descriptions given to the question, “what does your dream horse look like?” were turned into miniature ceramic horses. More flyers, business cards, zines, and a website, were also made. 

The project culminated in a pop-up research clinic. There, people were invited to take the survey, share their stories, and contribute to live data collection. Prizes such as stickers and dream horse vouchers were offered. Horse art and literature were provided for those in waiting. Previous survey respondents were extended a special invitation to come to the clinic to be reunited with a miniature ceramic version of their described dream horse. These horses were completed with a unique prescription labeled with the respondent’s dream horse’s name.

Through performing as a clinic this event playfully addressed the societal stigma which often deems feminine subcultures, such as horse girls, as crazy. The Institute of Horse Girl Research is a celebration of how centering the intersections between feminine identities and our niche misunderstood interests can allow for us to find validation and empowerment in one another.

2024

Collected stories on regret, handmade regret prevention trinkets, mall stand

The Regret Shop was a one-day pop up shop at the Lloyd Center Mall in Portland, Oregon. To receive items from the shop people were asked to share information about a regretful experience or purchase by filling out a regret receipt. 

In exchange for the receipt people were then given a bag which they could fill by picking a selection of their own choosing from different items I created. The shop offered seven different kinds of items, each designed to assist in moving on from or preventing regret. The items addressed regret and impulse shopping through the senses– blindfolds to shut out the sight of alluring objects, lavender sachets embroidered with regret-prevention affirmations, a regret prevention playlist, and more. 

The stories collected represent a range of relatable regretful human experiences – from caving in to targeted ads, to buying into outside pressures of home ownership or marriage. The collective sharing of the receipts offered participants catharsis by showing their stories as a part of a larger experience rather than one to feel shame and isolation around.

Special thanks to to Jada Wheeler for documentation photography and the Art + Social Practice program of Portland State University for supporting this event during Assembly 2024.

2024

60 ‘ x 15 ‘

Collaborative Mural

This mural was created over the span of six months at Portland State University through Social Practice Club, a student group which I organize. Collaboration on the mural was open to all PSU students, and over twenty students were involved in making the mural.

As the mural explored the theme of neighborhoods, we asked students “what does a neighborhood need?” Students contributed their input by illustrating their ideas with painters tape. Over several club meetings we taped, painted over the tape, and then removed the tape to reveal the neighborhood we had been building together.

As a club organizer organizer I had food provided at each meeting, facilitated collaboration between as many as twenty students at a time, and provided support for students to contribute their ideas while also learning the technical aspects of co-creating a mural.

We concluded this project by hosting a mural reveal party to celebrate all of the work that the students had done. The mural continues to live on the PSU campus.

2024

Book Insert

A project in which I inserted my writing on Asian American stories into books on local history at book stores and libraries. Born out of my frustration in the lack of Asian American representation in such books, I researched and wrote an article on the Yamashita family. Masahide Yamashita and his son, Jerry Yamashita, along with many other Japanese American oyster and fisher people, have been crucial to establishing a thriving oyster industry in the Pacific Northwest of the United States. The insert I distributed provides a much needed addendum into the books they can now be found within.

2024

Collaboration with Britta Johnson

Interactive marble run game on magnetic board with fabric appliqued wood and 3D printed pieces

The game asks players to design a marble run course to guide a marble, which represents stormwater, to a catch basin representing the Puget Sound. Players were asked to compete in building a run with the slowest possible time. This is to reflect the work Seattle Public Utilities (SPU) is doing to slow down stormwater as it moves through the city of Seattle which helps to reduce the amount of pollutants entering the environment. The game pieces were designed after infrastructural elements SPU uses to slow down stormwater such as bioswales, cisterns, green roofs, and more.

Players were timed on their runs. Winning run times were tracked on a scoreboard. People spent as little as a couple minutes to as long as an hour to find the perfect pieces for their runs. The resulting play provided an intuitive and tangible lesson in stormwater management.

Raindrop Run was conceived and designed in collaboration between artist Britta Johnson and I. Special thanks to MAKERS for fabrication services and to Team Soapbox for project management. This game was created for SPU and was presented as educational outreach to the public during Seattle Design Fest. Raindrop Run is owned by SPU and continues to be used for educational purposes.

2024

Event hosted by Taking Our Time collective

Taking Our Time (ToT) is a collective by artists Simeen Anjum, Lou Blumberg, Clara Harlow, and myself. ToT was created out of our shared appreciation for daily marvels such as the sky. We individually and collectively created work that explored taking the time to notice these wonders.

Sky Play was a public event that we hosted at Mocks Crest Park in Portland, Oregon. We invited friends and strangers alike to watch the sky together over several hours into sunset. Tickets were provided to the event and included prompts which encouraged people to get to know one another by sharing their own relationship to the sky or passage of time. We also provided refreshments, blankets, and chairs, which were all arranged in a semi-circle facing the horizon to give the sun center stage in this performance.

2024

A show of miniature soft sculptures, sewn fabric paintings, and zines shown at Fruitsuper in Seattle alongside the work of artist Mary Anne Carter. In representation of fond memories and nostalgic objects, I sewed, illustrated, and wrote about these items as a way to celebrate the everyday joy they have brought to my life.

I teach seed paper workshops as an extension of other earth based projects I have done. Participants are walked through the entire process of creating seed paper, from making the paper pulp to planting the finished sheet. Once planted, the seed paper will grow into native wildflowers.

Participants are also invited to write about their own rootedness which they can then use in creating their seed paper. The resulting paper provides a way to symbolically grow one’s connection to the land.

For interest in hosting a seed paper workshop, or any other workshop inquiries, email me at nvichayapai@gmail.com.

Credit to Chloe Collyer for select photographs on this page.

Linocut Prints

An ongoing series of prints exploring my multicultural identity and how it intersects with gender and folklore. The title, “Old chicken, mother snakehead,” comes from a Thai idiom for a craft elderly woman.

Collection of Online Museums

2021 - Ongoing

A collaborative project in which I invite people to create online museums in representation of themselves. Collections in these museums, chosen by the creators, range from personal curiosities, memories, favorite sights or sounds, family photographs, and more. In co-creating these museums I introduce people to the platform and collaborate with them in deciding the curation of their museum.

2024

An ongoing project connecting Asian Americans to explore Asian American art, history, and culture in rural places through organized road trips.

Silk Road Trips: Anacortes and Deception Pass State Park

A day of beach-combing, memorial making, and exploration into the rich Asian American history of Anacortes and surrounding areas. From visiting Deception Pass State Park, the site of entry into the United States for many Asians from the 1800s to the 1900s, to exploring the local treasures of downtown Anacortes like Sujin’s Kimchi, this trip dives into the impact of Asian Americans in this unique area once filled with ginseng farms, salmon canneries staffed with Asian laborers, and more.

Thanks to Christina Nguyen for photography, appearing in the following photos, and trip support!

Please reach out to nvichayapai@gmail.com for more information about joining future road trips.

2022-2023

Hand sewn and painted soft sculpture with Pacific Northwest wildflower seed papers

Interactive installation created for Remix at the Seattle Art Museum’s Olympic Sculpture Park. Handmade seed papers containing native wildflower seeds were provided to participants to write wishes to the earth upon. The seed papers were then sewn onto the cloud throughout the event as well as distributed to participants to be planted at their own homes and gardens. Based on the concept of cloud seeding, this project encourages people to make positive environmental interventions.

This sculpture has gone on to be shown with Spaceworks Tacoma , Mini Mart City Park in Georgetown, and the Museum of Flight in Tukwila. Many more seed paper contributions were collected along the journey.

Thank you to all who have shared their seed paper wishes with this project!

2023

12 ft x 4 ft

Fabric on wood panel

This piece was created in collaboration with ecologist Roger Fuller for Surge: Mapping Transition, Displacement, and Agency in Times of Climate Change at the Museum of Northwest Art.

Fir Island Farms Estuary Restoration Project, completed in 2016, set back 5,800 feet of dike and restored 131 acres of tidal marsh and tidal channels in the Skagit Delta. The project also incorporated protections to reduce flooding, maintain drainage, and prevent saltwater intrusion on surrounding farmland.

This piece illustrates the collaboration that goes into environmental restoration projects. This project provides an example of community stakeholders with different, sometimes conflicting perspectives, coming together to accomplish a project that increases the resilience of both ecosystems and human communities to the impacts of sea level rise and storm surge.

2023

3 ft x 4 ft

Watercolor paintings and fabric woven on wood panel

Created for Deception Pass State Park as a culminating project made during my time as the park’s inaugural artist in residence. This piece weaves together watercolor paintings of park wildlife with paintings of people recreating in the park, along with paintings in reference to historical photos of the park and its century long history.

2023

Hand sewn soft sculpture installation

An ongoing interactive project that invites viewers to take photos with these handsewn tiger sculptures as a way to provide fun and cruelty free #tigerselfies in place of harming living animals.

This installment, shown at the Museum of Museums in Seattle, makes reference to the paintings of French artist Henri Rousseau whose tropical themed paintings have made lasting and mostly false impressions of tropical places in the public canon.

2020

Lighted display of objects, photographs, and illustrations

A miniature museum dedicated to the diverse communities of Redmond, Washington. Inspired by Redmond’s Bear Creek Site where the oldest dated artifacts of human life in Western Washington has been identified, Your Story Our Story imagines what the archaeological artifacts of our time might look like.

Members from the local community were asked to share meaningful everyday objects. These objects were then immortalized through being embedded in resin or imprinted into clay. People were also invited to submit photos. These photos, along with drawings of the local flora and fauna, became the resin portraits on the outside of the box.

This public artwork was made possible by the City of Redmond, the Redmond Historical Society, and the many participants who shared stories and images.

2021

200 ft.

Mixed media mural

Collaboration with artist Monyee Chau created for Meta Arts Bellevue.

This piece explores the cultural impacts of globalization and imperialism through the subject of fruit. Combining paintings by Monyee with soft sculptural fruit made by myself, this multimedia installation utilizes both playful forms and powerful imagery to depict the range of cultural associations tied to fruit such as: strawberries farmed by Japanese Americans in Bellevue prior to incarceration during World War II, agricultural worker protests signs, and nostalgic memories of being served cut fruit by friends and family.

Thanks to Jae Eun Kim for art support, Lele Barnett for curation, and Meta Arts.

2020

4 ft x 10 ft

Soft sculpture on steel panels

A fabric garden of non-native plants which have naturalized in the Pacific Northwest. This work represents extensive research into many different plant species and their connections to people who often spread these plants during journeys of migration.

This project began while in residence with Rockland Woods on the Olympic Peninsula. Home Here has been shown with Shunpike Arts as well as the Henry Art Gallery as a part of Set in Motion, a show which was displayed on Seattle Sound Transit buses during the Covid pandemic in 2020. This piece was then translated into an augmented reality art installation in the form of an edible blackberry and lemon balm flavored popsicle as part of Augment Seattle 2022, curated by Future Arts.

2021

3ft x 3ft x 3ft

Illustrations in resin and on postcards with native plant garden

Temporary public artwork commissioned by Friends of Lake Sammamish State Park. This box contained a native plant garden as well as illustrations of native plants and animals which can be found in the park. A free brochure was also distributed as part of this project which details key plants and animals and the threats they face from increasing urbanization.

2018

20 ft x 8 ft x 3ft

Soft sculptural installation in snow

A walkable garden carved out of snow which led to sculptural fabric representations of 90 different medicinal plants in connection to the 90 days of winter. I researched medicinal native and non-native naturalized plant species in the Pacific Northwest to draw connections between traditions of healing and wintertime perseverance in cultures across the world.

This project was created while in residence with Caldera Arts in Sisters, Oregon, and was open to the public during an open studios event.

2019

20 ft x 12 ft x 3 ft

Soft sculptural installation

Under Maintenance celebrates the multifaceted lives of people working in maintenance. Bringing these identities to the surface of the uniform through embroidered patches, these identities are showcased as a way to humanize maintenance workers. These used jumpsuits, provided by my father who worked as a mechanic and restaurant owner, is embroidered with words collected from interviews with various close friends and family who work in a range of maintenance roles.

This show was displayed at the Meydenbauer Center of Bellevue as part of Shunpike Arts Storefronts Program.

2017- ongoing

Mixed fabric on wood panels

This collection of fabric portraits draws from several family photos as reference. These photos span a wide range of time and places, showing our family before and after immigrating to the United States. As documentation with great personal significance to our family, these photos hold great importance to me and I abstracted them through recreating them in fabric as a way to capture the nostalgia, warmth, and distance I experience when looking at the photographs.

2018

Soft sculptural installation

A solo exhibition created while in residence with Inscape Arts and Cultural Center of Seattle, an institution located at the site of Seattle’s historic Immigration and Naturalization Services Building.

Permeable Moment suspends in time a moment of permeability in the act of migration. Border areas, immigration services, and the buildings designed to moderate the flow of immigrants are defined by their lack of permeability. For those who are detained or deported, a moment of permeability never comes.

For my family, our permeable moment came in 2003 when we received our citizenship at this exact INS building. In creating this piece I imagined what it was like for immigrants to start their journey in the United States by first dreaming of a life beyond this building with it’s colossally imposing brick walls.

Through symbolism which combines non-native naturalized plants and their abundance with recreations of the INS building bricks as soft pillows in disarray, this installation imagines a dissolution of structures which act as barriers to the dreams of many immigrants.

2017 - present

Altered jumpsuits

An ongoing project of altered uniforms which reflect the dynamic and often numerous shifting identities which uniformed workers assume in their lives. Inspired by my father’s work as a mechanic in which the jumpsuit was his daily uniform yet represented only one of many different roles in his life.

2017

Mixed-media installation

Tropicana is a love song to the eclectic immigrant home I grew up in. A collection of installed work created during three years worth of investigation into the various childhood homes I grew up in, I explored these sites as charged with both the private embrace and rejection of assimilation. Through sculpture, printmaking, painting, and more, I recreated artifacts of personal significance and presented them during this solo show at Hubbell Street Galleries in San Francisco.