Artist Nguyễn Thế Hùng. Photo phunuonline.com.vn

Nguyễn Thế Hùng is one of the Vietnamese artists who attended the Freedom & Love International Art Exhibition at APEL Watoe Contemporary Art Gallery, Indonesia last month.

The exhibition featured artists from Brunei, Japan, Indonesia, Malaysia, the Philippines, Singapore, and Việt Nam.

Việt Nam News reporter Nguyễn Bình spoke with him about his work.

Could you tell us about the exhibition in Indonesia?

It is the 3rd exhibition held in Borobudur, Magelang, Central Java, Indonesia. It was founded by Singaporean artist Abu Jalal Sarimon, gathering artists from the region with the aim of exchanging and developing art.

It is an honour for me to be one of the members of the Việt Nam artist group. We had a series of activities including workshops, art talks, and visits to museums and artist residences.

You are known for the dots in your artworks. Could you explain what they signify?

The dots represent seeds. You can see that inside a dot there are other dots, such as nuclei, pollen, cells, and the seeds of life, which symbolise proliferation and development.

In the process of painting, drawing dot by dot is akin to meditating. Small dots are small blessings, and they will grow and spread good things to people.

Why are you also inspired by ancient and traditional designs?

When I was a fine arts student and went on field trips, I was impressed by Vietnamese ancient architecture. To me, the engraved designs in communal houses, temples, and pagodas are vivid and brilliant.

I use them as a favourite material in my works not only because of their beauty, historical and cultural significance, but also because I want to use them as a metaphor for time and traditional cultural values.

How challenging is it to overcome and refresh oneself?

I do not set specific goals, but I follow my feelings and thoughts at each stage. This method sometimes challenges me, as my emotional state often changes significantly between starting and completing a series of works. Eventually, this often leads me to alter the entire work.

To relax and "recharge", I take time to travel, visit exhibitions and museums worldwide, and I also enjoy climbing mountains.

You use lacquer material in almost all of your works. What advantages do you find with this material?

Each material has its own beauty and uniqueness. I like to explore, experience, and practise with different materials. In recent years, I have harnessed the brilliance of lacquer with gold powder and leaf, and I have also researched and practised lacquer on canvas.

Lacquer on canvas paintings are not affected by environmental factors and are much lighter than traditional lacquer paintings on board. However, lacquer on canvas does have certain limitations.

The colours of traditional lacquer paint are derived from eggshell, snail shell or mother of pearl, as well as gold and silver powder and leaf. I aim to preserve and develop these materials to make Vietnamese fine arts unique.

Have you ever felt stuck in your work or life? What makes you happy?

I was born in a mountainous area and always strive to live close to nature. I feel happiest and most peaceful when surrounded by plants, flowers, and small animals.

In both my house and studio, I pursue an environmentally friendly lifestyle. Nature consistently appears in my paintings, reflecting my worldview.

I have endured emotional upheavals, such as the sudden death of my teacher, painter Mai Anh Châu, the impact of the 2008 economic crisis, and the recent COVID-19 pandemic.

Normally, if one doesn't earn enough to cover living expenses and support a family, any job can seem meaningless.

For artists, it's somewhat different. I know many talented artists who struggle financially, investing significantly into their works.

However, I always maintain my faith and feel fortunate to work as an artist.

In a recent exhibition of yours, your series of paintings featured young women with traditional symbols. Could you elaborate on this combination?

Not only in the past but many contemporary artists like to depict women in traditional áo dài (long dress). I'm captivated by the blend of sensuality and confidence.

In truth, I aim to highlight the enduring tradition that is evident not just in clothing. I include metaphorical images that convey the robust connection between the old and the new.

I typically refrain from illustrating human faces and outward appearances in my paintings. I believe that appearance doesn't define a woman. I want viewers to sense the charisma and individual moods of the character in each painting. — VNS