Claudia Tong’s practice moves fluidly between traditional and new media, bringing together painting, illustration, mixed media, computer graphics, digital art and music composition. Rooted in the human experience of ordinary moments, her work finds wonder in the overlooked, transforming familiar streets, stadiums and everyday encounters into spaces of colour, imagination and symbolic energy.
With a background in computer science and psychology, Tong approaches art through both intellectual structure and creative freedom. Her visual language is clear, energetic and conceptually rigorous, often beginning with direct observation before expanding into imaginative or symbolic territory. Across watercolour, ink, acrylic, collage and code-based digital works, she explores the meeting point between logic and emotion, reality and fantasy, precision and spontaneity.
Tong’s practice is also shaped by a broad cultural and personal journey, from growing up in China to studying at Brown University and working in finance in London. Influenced by science, philosophy, Taoism and ancient Chinese calligraphy, her work often creates a dialogue between East and West, past and present, physical art and digital experimentation. Whether depicting football stadiums, London landscapes, dragons, or animated graphics accompanied by original music, Tong’s work celebrates the hidden wonder of everyday life while opening it into a wider field of memory, movement and cultural connection.
Are you self-taught, or did you undertake formal artistic training?
I am, and my practice actually grew out of the quiet of the pandemic. When my usual outlets like theatre, music and football suddenly disappeared, I was fortunate to start painting. My daily morning runs became a way to observe and discover. I started noticing how light, weather and mood could completely transform familiar streets and corners. I began capturing these overlooked moments of beauty using watercolour and ink, and what started as a casual hobby has since grown into a serious commitment. It has now evolved into a multifaceted practice that ranges from traditional illustration and mixed media to digital and algorithmic art.
How would you define your visual language or conceptual approach?
I define my visual language as clear and energetic, while my conceptual approach is rooted in logic and thoughtful structure. My paintings and illustrations revolve around bright colours and high energy, sparked by ordinary moments in daily life. I often start from a tiny piece of observation and let my work lean into unbounded imagination. I prefer to work in series because it allows me to explore a theme from various angles. For example, in my Year of the Dragon series, I combined familiar, real-world landscapes with imaginary dragons between reality and fantasy. In my Fever Pitch series, I drew football stadiums across the UK and Europe, blending club colours and fan culture with symbolism and free-flowing ink.
Can you describe your creative process from conception to completion?
My process depends on the concept and the medium I am using. For traditional paintings and illustrations, I usually start from a direct observation or a quick sketch of a moment that caught my eye. Sometimes the full scene makes sense as it is, but other times I want to emphasise a specific structure or detail, so I use limited colours or add imaginary elements to help tell the story. In mixed media, where I combine collage, painting and calligraphy, my starting point varies. Sometimes I begin by calligraphing a quote I want to explore and then build visual elements around it; other times, I start with the visuals and find the words later. In new media, such as my Colours and Sounds project, which combines animated computer graphics and original music, the process is much more logical and intentional. I code the visual elements and write the music around the same time, weaving them together through beats and rhythm. It almost feels like solving a puzzle where I hold both the question and the answer.
Does narrative, symbolism, or storytelling play a role within your work?
Storytelling and symbolism are central to my work, though they often emerge from real-world logic. In my Fever Pitch series, I use specific club colours and fan culture as symbols to capture the shared energy of a stadium. In my mixed media pieces, I use ancient Chinese calligraphy and Taoist philosophy to create a narrative dialogue between the past and the present. Whether I am blending imaginary elements into familiar landscapes or weaving music and graphics through a computer screen, my goal is always to tell the story of the human experience and the hidden wonder found in our ordinary, everyday lives.
Which artists have most influenced you historically or contemporarily and why?
While not directly influenced by specific visual artists, my practice is shaped by artists in a much broader sense. My background means I am deeply influenced by science, specifically how colour theory is rooted in neuroscience and visual perception. This helps me design and experiment with colours more intentionally, balancing pure creativity with scientific thinking. I also draw heavily from philosophy, particularly existentialism from the West and Taoism from the East. These ideas guide how I view the human experience and the flow of nature, helping me find the logic and meaning behind the moments I choose to capture, conceptualise and create.
What personal, cultural, or environmental influences shape your practice?
In addition to the scientific and philosophical influences mentioned above, my mixed media practice is deeply shaped by ancient Chinese calligraphy and the literature that flourished between 600 and 221 BC, particularly Taoism. I enjoy taking those traditional roots and combining them with modern visual elements like illustration and collage.
My personal journey also plays a huge role. Growing up in China, studying at Brown University in the US, and working in finance in London since graduation has given me a global perspective. I am passionate about using my art as a bridge between the past and the present, and finding a common language between the East and the West.
Where is your studio based, and how does the space inform your creativity?
I am based in central London. There isn’t much of a divide between my art and my life, which is probably why my inspiration often comes from very down-to-earth moments. Because I am right in the middle of the action, I find ideas everywhere: from the street corners on my way to work, to the specific way light and shadows fall on the football pitches where I coach and officiate games. My practice and my daily life have become a single ecosystem where art comes from life and life constantly nurtures new concepts in art.
Do you have any rituals or rhythms that anchor your studio practice?
My practice is built into the rhythm of my daily life, so I learned to fit art into my routine wherever possible. I often draft a painting before bedtime to get the ideas down, then handle the colours during the day to make use of natural light. Because I balance my art with work and other commitments, I often have to finish a piece in several stages. Whenever I sit down, I clear my desk and put on music to quickly shift my headspace and get into the mood. It is all about creating a focused pocket of creativity within a busy day.
What bodies of work or projects are you currently developing?
I am expanding my Fever Pitch series. Having covered stadiums in the Premier League and Bundesliga, I now find myself increasingly drawn to teams in the lower tiers and the local community. There is something incredibly lively about grassroots football and local venues; the closer I get to the community side of the game, the more energy I feel infused into the work.
At the same time, I hope to grow my new media projects. My goal is to find new ways to combine traditional elements with digital techniques. It’s an exciting challenge to see how the tactile feel of physical art can live alongside the precision of digital and algorithmic work.
Where can collectors encounter or acquire your work?
I announce new exhibitions via galleries and institutions, and on my Instagram account @cxt.art. During my solo show with ArtCan in London last year, I published an art book with Neurodivergent Synergy. They also carry a collection of my work printed on functional items, including apparel, home decor and clocks. Additionally, I often contribute to charity exhibitions, such as the recent A Letter in Mind show supporting the National Brain Appeal.
