New York City–based artist Doan Ly’s creative world is nothing short of dreamy. Known for her vibrant and whimsical still lifes of florals, food and other found objects, the a.p. bio founder has cultivated an inspiring aesthetic entirely her own. Ly blends her passions for graphic design, photography and videography to bring her immersive compositions to life, inspiring colorful collaborations with chic brands like Casablanca, Comme Si, Gossamer, Prose and Stella McCartney. Here, we sit down with the artist behind our spring food issue cover and chat creative inspiration, working with florals, her connection to the Land of 10,000 lakes and more.
What sparked your creative interest in photography?
Humble, pragmatic beginnings! When I started my business, I needed a way to document my work so I could get clients. I bought a camera and took a beginner photography class. Quickly, I realized it wasn’t enough just to document the work — like a specimen, or an artifact — I discovered that I needed a point of view. I then taught myself how to style flowers, set scenes and create a story behind an image. To my surprise, I had strong opinions about something I had previously had no experience with.
Photography by Doan Ly
You also work in videography. How does that intersect with your photography work?
Quite naturally! I studied performance and video is closer to what I studied and my training.
How would you describe your creative style?
Vibrant, emotional, surreal and luminous.
What are your biggest sources of inspiration?
Museums. I like to go alone. It’s really just a time for my mind to wander and to be free. Seeing art sparks a feeling or an idea and I love to just linger there in a state of curiosity and possibility.
Running also does that for me — even though I’m a terrible, terrible runner. It’s another chance for my mind to wander.
Can you share more about your creative process?
It really depends on the project. Sometimes it’s very prescribed. For a commercial project, an art director will hand me a deck and it’s my job to recreate it through photos. That doesn’t mean it’s formulaic! It can be a great creative challenge. For Prose, I tested 500 pounds of sand and styled a dessert cactus sunset in the studio. That’s a lot of sand!
Sometimes, it’s more open ended and I am allowed to imagine my own take. How do we convey January? By freezing the product in clear ice! If it’s my own personal work, I’m usually inspired by who or what is available to me. Quick, I have a blooming hibiscus. How can we capture the feeling of it? Or a rare cattleya orchid. What can I do with it?
One time I had 50 grasses and a glass cube given to me after an art exhibition at the Museum of Arts and Design. I knew I had to do something with this bounty. I asked an assistant to come in and I choreographed a performance where she spun on a cube. I will use what I have! Limitations create creative jumping boards.
Sometimes, I am lucky enough to have the time and resources to experiment. It can be paralyzing. Often it leads to failure, but other times I get jello boobs! This came from a fascination with agar, and elements from the studio. How can I make these forms have double meaning with the ingredients of my childhood desserts? The molds for the boobs are funeral cones — those plastic containers for flowers are headstones. Then I made agar hands and then I got a commission to make agar lamps for Kinfolk magazine.
Your blooming work graces the cover of our spring issue. What draws you to florals?
Flowers are larger than life. We are so intimate with them. They are a part of every big milestone and ritual — birthdays, marriages, anniversaries, deaths, thank yous and please-forgive-mes. They can convey so much: love, loss, longing, desire, joy, fragility, hope. And they are endlessly gorgeous. They teach you how to see, how to luxuriate (even when it’s humble) and, most of all, how to be in the moment.
What do you think is the most underrated flower?
People all have their own likes and dislikes. There was a phase when everyone looked down on the rose. They associated it with lowly deli flowers. Nobody wanted roses. Imagine a rose being underrated! Carnations were also considered undesirable — cheap. Or lilies, which were considered too fragrant. I think there is a time and place for every flower. It’s how you use them. I love how surreal gerber daisies look. Oh so déclassé! But so wonderfully artificial and flat, like a fake flower. How great is that? So different from the romance of the peony.
We love a hometown moment. Can you tell us about your connection to Minnesota?
My family came to the United States when I was seven years old as refugees from Vietnam. Catholic charities sponsored a lot of families. I grew up in Bloomington when winters would have snow banks up to my thighs, but schools never closed. The only time I remember having a snow day was when it was -70 windchill and the Governor declared a state of emergency. It’s not a tall tale!
One time there was such a huge blizzard, the snow was up to my waist and school was only postponed until noon. We still had to go! I remember putting on snow pants and clambering to catch the bus. I really miss those snowy days.
I love Minnesota. I left for college, but my family is still there. Being home feels vibrant — different, and yet still the same. I love the Guthrie Theater, the Walker, the lakes. I remember Dayton’s department store. I’ll turn on the radio when driving and I’m transported back to high school again, when my bangs were huge and gravity defying.
You’ve worked with some cool clients, from Carolina Herrera to Comme Si to Kate Spade. Do you have a most memorable collaboration?
It was really fun to go to Paris to style a Louboutin shoot. I was so intimidated, but the team was incredibly nice. And Paris?! Best time ever. It’s all thanks to my agent there, Nicolas Heut Greub of 37.2.
I also always love a good museum exhibition. I’ve had the honor of having work at the Saint Louis Art Museum, the Cincinnati Art Museum and the Museum of Arts and Design in New York City. Each experience was a unique creative challenge — each was distinctively different and gave me a chance to really delve into how art and flowers intersect.
Any exciting projects or collaborations on the horizon?
I just finished a renovation. That’s as much excitement as I can handle for a long time.
Feature image portrait photography by Lea Winkler.
