FAR-NEAR is a print series-turned community showing yet another signal of a cultural shift offline.
Founded in 2017 by Lulu Yao Gioiello, FAR–NEAR began as a print series dedicated to broadening perspectives of Asia. The publication welcomes contributions from voices far beyond the Far East, reclaiming narratives and offering an antithesis to the Western gaze that often defines Asian representation.
Eight years later, FAR–NEAR has evolved beyond print into a growing online platform and community. Its new physical space in the heart of Chinatown brings the project to life through film screenings, artist exhibitions, discussions, and collaborative gatherings, creating a self-sustaining ecosystem where art, identity, and community converge.
Q & A with Lulu Yao Gioiello, founder of FAR-NEAR
Q: What was your personal spark that led you to create FAR-NEAR in 2017, and how has the project and its vision evolved since then?
It was a mix of personal and professional catalysts in my life – I was a couple of years into my publishing/advertising career and I had a desire to see Asian art and culture depicted in a more nuanced, less-orientalizing way. I had also started to spend more time in Asia, visiting my mom in Taiwan and friends in Japan, and was introduced to a lot of creatives in fashion, art, music, photography, etc. I wanted to give these creatives a chance to have their work seen by a wide audience.
Q: FAR- NEAR invites submissions for its prints and publications. What do you look for in a submission, and how do these choices help shape what the book series ultimately aims to do?
It’s really important to me to have a wide range of stories in the book – not just in content/approach, but also in age and cultural background. Asia makes up 60% of the world’s population, but so many people just think of China, Japan and Korea, and creatively, many artists are pigeonholed or only certain people are given a platform. I’m always looking for unique ways of thinking, stories that go beyond clichés, and I’m always excited when someone from Central or West Asia or minorities within larger countries submit work, as they are often more difficult to find or pushed to the sidelines when it comes to Asian representation in the West.
Q: You’ve recently established a physical space in Chinatown. What does having a dedicated home mean for FAR-NEAR and how does the community interact with the space?
Since FAR-NEAR started as a book series, I wanted a space to reflect the reasons behind having something physical. It’s a place for connection, archiving and sharing resources.
New York can be such a fast-moving, chaotic and expensive city, and I wanted to offset that by offering an intimate place for people to meet each other and share thoughts. I offer open call programming opportunities to the community, so people often pitch workshops, screenings and discussion groups, and we will organize it together. These events range from 5-45 people and the great thing about working with different organizers is it’s always bringing in new communities and people together. I also keep the space open by appointment on Fridays and Saturdays, and visitors can browse my resource library of Asian art books. Sometimes they’ll come to me with a specific topic they are interested in and I pull out a selection to share, and sometimes they just browse on their own. Oftentimes, overlapping appointments will turn into new friends.
Q: You’ve built this community without outside investors or fundraising. What have been your biggest challenges running an independent platform, and what have you learned about sustaining a creative project like this?
This is very much a passion project and creative outlet for me, and is only something I can do via my disposable income from working full time. I do try to break even or gain some profit with the publishing and merch sales, and that goes back into funding things like the community space or compensating contributors. I also ask for suggested donations at our events, which helps offset some of the costs. The biggest challenge is running most of this on my own (including cleaning up after events!) but what makes it sustainable are the connections and happy faces of people that participate in the workshops, those who come from different countries and are inspired to make something similar in their hometowns, and the collaborative spirit of the cohosts.
Q: How do FAR-NEAR’s community members and contributors help shape the direction of the project, both in the new physical space and in the volumes?
I operate the book series and community space as a split between commissions and open call. Because I am only one person with one perspective, I try not to put my voice into other people’s stories/projects outside of general themes, and make gentle nudges to make sure the content is legible to a wide audience from different educational backgrounds, and to make sure the images are ready to print. Similarly, with events, I guide the cohosts to make sure the event will go smoothly, and offer help where needed. That way, I am able to learn from the collaborators, as much as they are able to learn from me or the process of producing work. For commissioned works, I come up with an idea and a framework, and work together with collaborators to build teams, cast and edit the piece.
Far-Near’s sixth volume “HEAT,” is available now for pre-order on their website, and their community space regularly holds events such as exhibitions, talks, and film screenings. Visit their programming page and follow announcements on their Instagram for upcoming events.
For brands looking to partner with FAR-NEAR, email us at connect@offlinetalent.com