Forging one’s own path in the pursuit of artistic fulfillment takes grit and perseverance. But for Phillip Nguyen, it came naturally.
Nguyen’s Young Metal Syndicate specializes in custom grillz. He started his craft in his parent’s bedroom, and worked his way up to his own studio space, where he creates his jewellery.
The Press sat down with Nguyen to discuss his journey and how he finds balance on the tightrope walk that is art as a passion and a business.
How did you get started?
I got started about four or five years ago. Initially, it started off as a passion project. I really wanted to do it for myself, and it kind of became an obsession. And then over the years, people were asking me if I could make grillz for them. Then it snowballed. I saw jewellery that I liked, but not stuff I would wear. If I can make it more personalized to myself, that would give it more character.
Was there a moment that solidified your journey as an artist/jewellery maker?
When I got this studio, actually, and signed the lease. It was kind of a full-circle moment for me. Before, I would meet clients up at skate parks or just pull up to their houses. I was working out of my parent’s bedroom. It’s a lot different now. I can take more people. I’m not cooped up all the time.
What has the community been like for you as an artist and while working in a shared studio space?
It’s been a huge blessing, being able to meet different clients over time, and we build a friendship. And then we also share resources and knowledge. We help support each other and hold each other up. There’s a lot of support. And it’s the kind of environment where we’re trying to better each other, so we just work off of each other’s energies. It’s kind of like a steel on steel. We just help sharpen each other.
What’s the hardest thing about building your own creative business?
The initial startup process and the commitment at first, because it’s different when you become full-time. All the money that you make has to come from the work that you put out. It’s restless, like a demon on my back, telling me, “You need to make ends meet or I’m not eating.” Everything is up to you. It’s a little scary at first, but I think having the support of friends helps a lot.
Do you find it hard to still enjoy making art as you have made it your career?
At the beginning, I did find it hard. When you involve business with art, it takes away from it a little bit, because you’re not really making the things that you want to make. I think I found a balance with that by trying to make my own art for myself and not sell it.
What was it like pursuing art in a Vietnamese/Asian household?
It was a little rough at the beginning, just dropping out of school. Like, “Sorry, Mom, I’m gonna make grillz.” They didn’t really understand it, because from their perspective, and how they were raised up, it’s like a new way of living. I think just trying to get them to understand that I can make a living out of this. I can take care of myself while doing this. It’s been huge.
What is your favourite part of the jewellery-making process?
I really like polishing. I think I’m able to get in a flow state and I’m able to think about different aspects of life, not even jewellery. It helps me look at things differently and just be more aware, even though I’m not initially thinking about things just by being in a flow state. I’m able to search for things in my brain and be able to process it in that state.
Do you have any advice for any creatives wanting to start a business for their art?
You almost have to have tunnel vision, and you can’t really let outside perspective shift your motivation and confidence. Because I had a bit of issues like that too. Like with my family saying that you need to go to get a degree. At first, it’s hard for them to really see what you’re seeing. I would say just do it for yourself and from there things will start to fall in your lap.
This interview has been edited for clarity and length.
