Art must have content, yet the content is not always pictorial. The ideal of color, of visual form, of composition, must be expressed in art through non-pictorial means. Only then does the artist begin to observe the particular, the psychological object, and discover its meaning, its implications, its unformed shape. All of these things must…

I arrived in Vietnam a weary traveller, but found immediate hospitality among the artists of Hanoi. Meeting many around the Bia Hoi and cafes of the city. To me it was an impression of life in Paris in the 20s, there were friendships, laughter, feuds and fights all in the space of one glorious, hazy…

The autumn season of one’s life brings a heightened intensity to the preciousness of each and every moment. Every breath, every feeling, is punctuated and swollen with the pregnancy of memory. Individual recollections rise and fall, riding the tidal patterns of time’s ephemeral passing. But memory as form remains omnipresent, attuning the senses to what…

Viet’s works depict the lavish and hallow state of both urban and rural contemporary life. Utilizing forms ranging from highly visceral dismembered bodies to abstract brush strokes Viet creates emotive and fragmentary compositions reflecting the breaking down of society, the disorientation of the people and general moral decay.

Memory and nostalgia are infused with essences of the political creating an intoxicating elixir which French born artist, Kristine McCarroll, deftly manipulates throughout her cumulative series ‘The Good Ole Times in the Colonies’. Arriving for the first time in Viet Nam in 1995, in order to examine her country’s historical presence, the artist was extremely…

Every silk painting in “Emotion” is accompanied by a bronze statue, both of which were inspired by Chinh Le’s initial plaster works. The statues seemingly profess the physical nature of life while the silk paintings lead one into the spiritual realm, illustrating the interconnectedness between the two.