Troy Gua was born and raised in Seatac, Washington. He’s a libra. He is self-actualized.

Growing up in suburban 1970's and 1980's America, little Troy performed Elvis impersonations for his parents' friends on the family hearth. As a small child, he was obsessed with Elton John, and dressed as him for Halloween, complete with a custom-made satin jumpsuit. Young Troy discovered why girls were different from boys when he witnessed Olivia Newton-John on the big screen in Grease. He never missed an episode of The Six Million Dollar Man, and he cried with his big sister the day John Lennon died. Star Wars and Prince obsessions remain the closest thing to religious practice for Troy.

Troy grew up with Ronald McDonald and Ronald Reagan, King Tut and the King of Pop; images and icons that have been burned into his subconscious. Rock stars, advertising, packaging, Hollywood, fast food, the internet, Facebook, and reality tv - American mass culture has shaped his life, and is a vital component of his creative process.

Encouraging closer investigation and often highly lustrous, Gua’s work is reflective, both literally and metaphorically. It implies the reflection of our mainstream culture, his fascination with it, and his desire to become part of it. It suggests the slickly wrapped bits and bytes of information our modern world is continuously fed through our growing assemblage of media. It refers to what we choose to see, and what we choose to show.

I prolifically and consistently produce pop-infused conceptual work in a wide range of media, marrying commerciality to contemporary with a glossy design aesthetic and a keen wit. My subject matter addresses contemporary culture and the ways in which media, iconography, identity, cultural self-critique, and the universal human need for recognition play parts within it.

My methods of fabrication are as eclectic as the results, and my media of choice is whatever best serves the piece, whether it be paint on canvas, digital print, cast resin, found object, sculptural intervention, plaster, photography, video, etc.

I'm both fascinated with and repelled by our contemporary culture. That ambiguity is reflected in the work I make. Is it exalting or condemning its subject matter? Can it do both simultaneously?