When all over the world is affected by the pandemic, art and artists are no exception.
Can you share a little about the fate of appearing and your role in the group exhibition called `Time Inside – Lying Between – Buried Under – Revealing Above`, with artists Richard Streitmatter, Phan Thao Nguyen and
I am very happy with this group exhibition because I have known Richard and Thao Nguyen for a long time but have never had the opportunity to exhibit together.
Choosing to pursue traditional culture and art will depend on the creative material, do you agree with this?
What I think is whether or not to use traditional materials is a choice, it is not the only means.
The work `The Invisibility of Female Labor` was exhibited in Germany in 2020.
Many artists work wonders in choosing materials and improving materials to maintain the longevity of their works, why did you choose Do paper?
Coming to Do paper material was an experimental accident, choosing to go on a 20-year journey with this material was a conscious decision combined with stubbornness.
The work `Saints of Hope` is made of Do paper.
Most of the works in her collection `Saints of Expectation` are located above.
Each audience has its own way of feeling.
Speaking of the collective understanding of femininity, do you see a need for a `liberation` for women to agree with the happiness that is worshiped in their own `territory`?
“Liberation” should come from each person themselves.
The work `Saints of Expectation`.
Looking at families struggling to close doors during the pandemic, nestled inside the city motionless for a long time, what are your thoughts?
During the pandemic, not only in Vietnam but also around the world, women have become much more difficult in household chores.
What do you pay special attention to observing in Saigon during this period?
Saigon is where I grew up, it is a part of my flesh and blood, so the memories are too many to mention.