bronze by Lori Kay featured in Cheers to Muses


Nishime, LeiLani, edited by Bailee Martin, podcast of Interview with Lori Kay, from Race in Public: Expanding the Public Conversation about Race, January 4, 2014.


“Eating Your Heart Out: An Interview with Lori Kay” in War Baby / Love Child: Mixed Race Asian American Art, by Laura Kina (ed.) and Wei Ming Dariotis (ed.), University of Washington Press, Seattle WA, p. 36-38

Waxman, Lori, ‘War Baby’ is something to see, if you can let go, Chicago Tribune, May 8, 2013

Short, Steven, Meet the woman behind the new Peninsula Museum of Art, Crosscurrents, KALW 91.7 FM San Francisco, article features a photo of Lori Kay’s artwork at the East Gallery of the Peninsula Museum of Art.

Ayers, Robert, Art at Wing Luke Museum explores mixed-race heritage , Seattle Times, August 19, 2013


Cheers to Muses: Contemporary Works by Asian American WomenAsian American Women Artists Association (January 2007), San Francisco.

Hallmark, Kara, Encyclopedia of Asian American Artists, Greenwood Press, (2007), Westport, Connecticut


Hearts in San Francisco, San Francisco General Hospital Foundation, (2004), San Francisco

Bay Area Backroads,”Down in the Dumps”, K-RON TV Channel 4.

Bay Area Personalities,”Another Man’s Treasures”, KTVU TV Channel 2.


Christine Lias,”Artist’s Work is Trash, Literally”, Los Gatos Daily News, December 26, 2003, p.1, 5.

“Artist Lori Kay awarded art residency at San Francisco dump”, Art Business News (December 2003)


Of Our Own Voice, Asian American Women Artists Association.

“P.I. Made In America,” Filipino American Artist in the Pacific Northwest, Wing Luke Asian Museum catalog.

“Filipino Art Exhibits”, Heritage(Summer 1999)

an entry on Lori Kay featured in
Encyclopedia of Asian American Artists

Lori Kay’s heart featured in
Hearts in San Francisco

Unzipped | For Lori Kay, gold was the color that came closest to representing truth, beauty and love, the highest attributes that are revealed by the unzipping and undraping of the heart. Gold has a rich history of symbolism in many cultures, religions and art traditions. The artist applied most of the heart’s 40 something luminous layers at dawn, while her twin daughters were sleeping.


“Detail”, A Journal of Art Criticism, Vol 4, Number 2, 1997 p. 2-3.

“Diversity, Interviews of the Artists”, Palo Alto Cable TV, Ch. 6, Feb. 1997.

“JCC Exhibit Tackles Tough Issues,” Palo Alto Daily News, Feb. 20, p. 14

Nora Villagran, “Making a Wish Artistically”, San Jose Mercury News, June 21, Cover, p. 3-4.

“Women Artists of Color”, Video, National Women’s Caucus for the Arts, United Nations NGO, Beijing, China.

“Bronze Sculpture Unveiled in Mt. View”, Palo Alto Daily News, Jan. 14, p. 13.


Tuchman, Laura. “Half Breed or Whole Person”, San Jose Mercury News, Dec. 15, Cover, p. 16-19.

Workman, Bill. “Searching for a Whole Identity”, San Francisco Chronicle, Dec. 8, p. 1.

“Walk in her Moccasins, Biracial Artist Asks”, The Times, Dec. 8.

Rice, Eric. “City Council Tries Art for Park Sake”, Half Moon Bay Review, Feb. 15, p. 1, 13

Cheek, Jennifer. “A Wish Fulfilled”, Half Moon Bay Review, March.

Curry, John. “HMB Gets its First Public Sculpture”, The Times, Mar. 13, p. 1, A3-4.


Ameli, Venus. “Women, Culture and Self-Expression”, KMTV (Ch. 6), May-June.“Casting a Wishbone”, 11 PM News, KNTV (Ch. 11), January 20.Green, Marilyn.“Sculptor Casts Her Wish”, Boutique & Villager, Hillsborough-Burlingame, Feb. 2, p. 1 & 2A.

Rothman, Jason. “Art Beat-Brains and Bronze”, Metro, Jan. 27, p. 29.

“Retrospective Sculpture Exhibit at Ledbetter Focuses on Female Form”, The Carmel Pine Cone, Feb. 10, p. 32.


“Internationally Recognized Sculptor Inspired by a YFU Past”, YFU World, Spring, Vol. 3, No. 1, p. 6.1992

Blair, Erin. “Student Union Displays Asian Art: Art Represents Identity and Talent”, The Golden Gater, Sept. 10, p. 12.

Worthington, Robin. “In the Doghouse ?”, San Jose Mercury News, June 9, p. 1B and June 10, p. 4B.


“Public Art Controversy”, KGO (Ch. 7) & KNTV (Ch. 11), June 9.1991


“Art Avenue”, The Peninsula Times Tribune, Aug. 23, p. B4.1990


“Casting of a 3,000 Pound Buddhist Temple Bell”, KNTV (Ch. 11), January 1.1989

Graham, Jerry. Bay Area Backroads, KRON (Ch. 4), November.

Of Our Own Voice,
Asian American Women Artists Association


Jenson, Jan. “Free Form”, San Jose Magazine, March, p. 33.1987

Rebechi, Giuliano.”L’arte al Femminile,” “Il Terreno, March 4, p. 18

“Con una Grossa Mostra…”, Nazione, March 7


press clips 

Clipping from Seattle Times, August 19, 2013

“… Lori Kay’s father is Filipino, and her mother is European American. Their marriage would have broken anti-miscegenation laws in her mother’s home state of Virginia, so they were married in Washington, D.C. One of Kay’s earliest memories is of a woman pointing at her in her stroller and hissing, “You’re a sin!” Her “Heir to Rice” (1999) is a small sculpture that is at once understated and splendidly eloquent. It comprises a conical straw hat that holds its shape and seems able to float above the ground, even though it is coated in bronze. Its subject is courage.

The common ground shared by all the artists in the show is in questioning assumptions, prejudice and stereotypes. In this they share the tendency of all significant artists to encourage more intelligent perception in the people who experience their work — which is why you should see this exhibit.”

‘War Baby’ is something to see, if you can let go

by Lori Waxman, Chicago Tribune, May 8, 2013

… “Nevertheless, most of the artworks in the exhibition do indeed deal directly with topics like cultural hybridity, touristic expectation, transracial adoption and foreign homecomings. Of particular note are a ghostly bronze of a rice farmer’s hat by Lori Kay …”

Encaustic Paintings from the Half-Breed exhibit
LAURA J. TUCHMAN, Mercury News Staff Writer

… ”Half-breed: In Search of a Whole Identity,” a mixed-media art exhibit inspired by her own biracial heritage. In the exhibit, which fills Belmont’s Manor House Gallery, one wall holds a grid of nine boxlike reliefs made of encaustic, a mix of wax and oil pigments. Each box features some element from nature (a nautilus shell, a maple seed, the outline of a shore), and below each box, on black-and-white placards, hangs a racial or ethnic label. The boxes represent those found on employment applications and other standardized forms. But here the ”labels” rest on hooks; viewers can move them from box to box as they please. ”The words don’t have anything to do with the boxes,” Kay says. more…

Broken Wishbone


NORA VILLAGRAN, Mercury News Staff Writer

… the award-winning artist spoke recently about her work, her life and the sculpture she spent a year making.”The wishbone is nostalgic of my childhood. I have fond memories of breaking wishbones in my family. It’s a symbol of Americana to me. It’s also about the duality of life: Sometimes our wishes come true. Sometimes they don’t.”To become an artist and to be able to make a living as an artist is a wish that has come true for Kay, through her own perseverance and talent.”My parents, who were warm and loving people, taught me to march to the beat of my own drummer,” more…

Artist, Lori Kay, welding a sculpture
ROBIN WORTHINGTON, Mercury News Staff Writer

Sculptor Lori Kay affectionately calls her cast bronze dog Fido. Critics of the piece call it road kill. The jagged-edge sculpture of a dog with a front paw on a fire ladder has set off a small blaze of controversy since it was installed a few weeks ago on the front lawn at Fremont Fire Station No. 5 in Warm Springs. more