My practice orbits Vietnamese silk, where ink, paper, and hand-assembled fibers become vessels for memory. Through silk I extend painting beyond fixed surface into a spatial bodily encounter. The work sits between Vietnamese silk-painting tradition, contemporary installation, and diasporic memory, using transparency as both a material condition and a metaphor for unstable belonging. I am drawn to silk for its restless absorption and release of pigment, leaving images suspended in a state of uncertainty, never fully present or absent. The material’s instability echoes the way memory flickers and shifts over time.

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As a Vietnamese artist in the West, I operate at the crossroads of inherited histories, personal memories, and present realities. Rather than retelling events, I explore how memory bends, adapts, conceals, transformed, and reassembled through acts of recollection. Trauma remains a point of departure, but no longer the destination. Instead, I am interested in the traces, scars, and transformations that persists in its aftermath. Memory is not approached as a fixed archive but as a living process, shaped by emotion, distance, and the changing condition of the present. Painting on silk becomes a living meditation: an endless cycle of ink, wash, erasure, and renewal. By layering silk upon silk and painting on both sides of the surface, images emerge gradually through accumulation and transparency. Each layer leaves behind a ghostly trace, a memory that lingers but never dominates. Through this process of making and unmaking, I resist fixed meanings and keep the image open, alive, and unresolved.

 

I create large-scale silk paintings that function as portals for memory. Responsive to air, light, and movement, they refuse stillness and invite viewers to navigate shifting layers of visibility and concealment. Through transparency, scale a material transformation, my work explores memory as fluid, embodied experience that is continually reconstructed through perception.