Annie Lok is an Australian collage artist who merges traditional cut-and-paste techniques with digital technology to create thought-provoking works that explore identity, culture, and social issues. Drawing from personal and found photographic imagery, her practice reflects her fascination with art as a tool for criticism and change — a way to capture snapshots of identity and culture in tangible, lasting forms.

Annie’s passion for art was nurtured early by her family, who introduced her to gallery visits, creative afternoons at the dining table, and the works of artists like Vincent van Gogh. These cherished moments laid the foundation for her artistic journey, which spans over 15 years and focuses on topics such as mental health and gender politics. Annie’s work invites viewers to pause and reflect, striving to leave a meaningful, memorable impact.

We asked Annie about her art, creative process, and inspirations.

Lok_Annie_RabbitHole69_2024_Image_Artist — *Rabbit Hole 69, 2024.*

Can you tell us about your background as a digital artist? How did you get started in this field?

Well, firstly I should note that I haven’t always identified as a digital artist: I studied painting and printmaking at art school (2002-2004), then primarily used drawing materials in my practice as I was committed to figuration (I did a lot of life drawing). When I began playing with composition by cutting up my drawing I made what felt like a natural transition into traditional cut-and-paste collage and assemblage.

It wasn’t until mid 2021 when I suffered a workplace accident, rupturing two discs in my lower spine, that I kind of fell into using digital technology as a way to evolve my artwork. Making use of the tech I had - my trusty iPad tablet - was the obvious next step.

What I didn’t realize at the time was that it would be a major game changer, allowing me greater freedom: a device that could be taken anywhere, that could source and store any and all imagery, and apart from a camera and a printer, it is the only tool I currently need to create these works.

Lok_A_Classic_Beauty_2023_Digital_Photo_Collage_Printed_On_Cotton_Rag_Paper_28cmdiameter_Image_Artist_TBE — *A Classic Beauty, 2023. Digital Photo Collage Printed On Cotton Rag Paper*

What inspires your art? Are there any particular themes or subjects that you enjoy exploring through your artwork?

Oh definitely, I am never lacking in inspiration or themes to explore, yet I tend to stick to the same subject matter. I like to see how art services as not only criticism but for exploring avenues for change. I’m sure a lot of art practitioners can relate to this: I am inspired by what art represents; it becomes a ‘thing’; a snapshot, or something tangible in a bid for capturing identity and culture. It’s quite a romantic standpoint, but I want to be remembered for contributing something thought provoking and memorable.

My paternal family has always been really creative; they played a pivotal role in the start of my art education through exposure to art at a very young age: excursions to art galleries where we lived in Canberra in the Australian Capital Territory; sitting at their dining room table with a cup of tea and drawing materials; admiring the reproductions they had of Vincent Van Gogh paintings in their living room, these are some of the most precious memories and experiences for me.

For the past fifteen years I have used art as a tool for creating a dialogue (or debate depending on your perspective) for social issues such as mental illness and gender politics. I have two ongoing series titled Rabbit Holes (since 2021) and Peep Show (since 2023). Seeing contemporary digital artists who identify as women on the world stage is really inspiring, including New Zealand artist Jess Johnson, Australian Lucy McRae and US artist Amy Karle. If you are not familiar with them, definitely check them out!

Lok_A_Hands_Off_2023Digital_Photo_Collage_Printed_On_Cotton_Rag_Paper_28cmdiameter_Image_Artist_TBE — *A Hands Off, 2023. Digital Photo Collage Printed On Cotton Rag Paper*

What draws you to collage as a medium, and how do traditional and digital methods complement each other?

Collage is awesome, and has always been. I love how it’s been used in the past, firstly for a way for us to look at ourselves and each other, and secondly as an exciting method of picture making through the incorporation of materials such as photography, print media, and other mixed media. It’s playful; experimental; challenging.

Collage is a great method for learning how to build successful and dynamic compositions. This can also be learnt through mashing traditional and digital methods and materials together: one could take a photograph, and either print it out to be used in a cut-and-paste work, then push it further by taking a photograph of the collage, upload it onto a digital platform, then manipulate and edit the forms and/or composition further.

RabbitHole#80_2024_AnnieLok — *Rabbit Hole #80, 2024.*

How do the concepts of figuration and the gaze, particularly through feminist perspectives, play a role in your art?

Figuration has always featured in my work in some form or another. It wasn’t until I did a deep dive into concepts of the ‘male gaze’ specifically art produced in France during the later part of the 1800’s - think Degas, Manet and Renoir - as part of a research essay while studying for a Masters in Art History and Curatorial Studies that I became pretty angered by past art practices and a little thing called the Patriarchy!

In regards to my latest work I have an ongoing series titled Peep Show, where female figuration and concepts of the gaze are explored. I build kaleidoscopic compositions using repetitive shapes and symmetry, mimicking the experience of looking through a kaleidoscope. I try to create a sense of push and pull by inserting a feminist voice, one that tries to fight back against voyeurism, and the long lurid tradition of marrying art with gazing (or ogling depending on your perspective!). If this work achieves a skerrick of anything as impactful of, say, the amazing, progressive Guerrilla Girls, then I can die happy!

*GIRLS GIRLS GIRLS, 2024. Digital Photo Collage*

Your academic studies explored the interplay between art and theory. How do you balance intellectual constructs with the more intuitive, emotional aspects of art-making?

This is a great question, and I’ll flattered and happy if I have succeeded in balancing intellectual constructs with intuition and emotion. It may not be plainly obvious with some of my work, such as Rabbit Holes, but by relying on symbolism: incorporating repeat imagery or subject matter into my work, each Rabbit Hole becomes an extension on the next, as a visual dialogue on issues such as mental illness that continues and evolves over time.

Anyway, by utilizing specific symbols, for example moths - that represent determination and overcoming adversary – or sand - the passing of time - or clouds - the expression of emotions - it can offer clues or ‘Easter eggs’ for the viewer to give the ‘looking’ aspect of the work a more rounded experience.

Your pieces often weave personal and found imagery. How do you select and connect these images to create meaning?

I am very selective over what imagery to incorporate. On a practical standpoint I like to use high resolution pictures so that I won’t face any issues with sharing them or printing them out. The application I use to build my collage is called Bazaart. The program enables me to incorporate each image into one composition and blend them seamlessly, through layering, stretching, cutting, adjusting contrast and colour saturation.

*I Hope I Terrify You, 2023. Digital Photo Collage Printed On Cotton Rag Paper*

Are there particular artists, movements, or moments in art history that continue to inspire your practice?

Definitely. As I mentioned before I absolutely love New Zealand artist Jess Johnson’s artwork. She manages to build these mysterious, sci fi worlds featuring faceless figures, wormlike creatures, a colourful temple-like structures. The National Gallery of Australia (NGA) had commissioned Johnson and collaborator Simon Ward to build a world for their permanent collection. So in 2018 the NGA exhibited the multimedia spectacular titled Terminus. It was an amalgamation of skilful drawing, 3D animation, and virtual reality, to become an incredible immersive experience. To date it is one of the best exhibitions I have ever seen.

Apart from being influenced by the history of the female form and feminism theory, I have always gravitated towards the history of collecting art and objects – I have my own Wunderkammer or cabinet of curiousity - Memento Mori and the Vanitas – heavily symbolic still life from 16th Century Netherlands depicting the ephemeral nature of things – Surrealism, Pop Art and, of course, art in the digital age.

Lok_Annie_RabbitHole#87_Artist.png — *Rabbit Hole #87*

What is a profound childhood memory?

A profound childhood memory is a moment in time, not matter how big, or small and insignificant it may appear to be for others, that ends up having a major impact on your character. Rabbit Holes began as a form of escapism. Some events transpired when I was young, including being bullied as a child. I could easily open a favourite book such as Alice’s Adventures in Wonderland, to work through the complex emotions brought on by trauma. That is where the idea of Rabbit Holes came from.

Are there any new projects, mediums, or ideas you’re excited to explore in the near future?

Yes actually, I am keen to experiment more with digital technology. Over the past couple of years since making a shift to digital photo collage I have been playing with animated imagery, and so the plan is to create interactive works in my Peep Show series: I am still nutting out the details but I envision a kaleidoscope builder or an interactive piece where the viewer can move or manipulate the elements within the work. I may even try adopting the same concept with Rabbit Holes. We are only limited by our imagination!