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Showing posts with label English. Show all posts
Showing posts with label English. Show all posts

Friday, January 23, 2015

L’HEBDO and CHOÉ

l'Hebdo-cover-May.1995

L’HEBDO and CHOÉ

Early 1995, we received a letter, via post office, from the Editorial of L’HEBDO in Switzerland. L’HEBDO asked if we could arrange an interview for its reporters with CHOÉ, the most famous Vietnamese political cartoonist of Saigon before 1975, and take a few photos of CHOÉ with some of his recent artistic works.

CHOÉ agreed with the interview, to be conducted at LAO ĐỘNG (Workers) News Paper Office, where he was collaborating. As to the photos, CHOÉ proposed they would be taken at TỰ DO (Liberty) ART GALLERY, where nearly all of his recent artistic works had been conserved since 1988, after he was released, for the second time, from re-educational camp.  

We replied to L’HEBDO on behalf of CHOÉ. L’HEBDO sent us a letter, setting 2 appointments: A female reporter would meet and interview CHOÉ at the LAO ĐỘNG (Workers) News Paper Office in the morning of 24-4-1995, and a male photographer would meet CHOÉ to take photos at TỰ DO (Liberty) ART GALLERY at 09:00 AM on 25-4-1995. Emails were not available at that time. All correspondences were through post office. A letter from/to Switzerland would take 7-10 days. 

l'Hebdo-p33-May.1995


Right at 09:00 AM on April 25, the photographer arrived and met CHOÉ at TỰ DO ART GALLERY. He perused all of CHOÉ's works; then decided upon "TWO FRIENDS". This painting described two wounded veterans of two sides of the war, one blind, one lame, helping each-other to go around begging. The painting was displayed at a roadside easel just in front of TỰ DO ART GALLERY. CHOÉ sat by the side of his work, trying numerous positions for his photo shot. The photographer worked continuously from 09:00 AM to 02:00 PM; he took 5 rolls of films. Digital camera was not available at that time.

Choe - TWO FRIENDS - oil on canvas - 100cm x 100cm


After everything had been done, the photographer prepared his belongings.
"Do you take any more photographs related to April 30?" I asked. 
"No", he replied. "I've just arrived yesterday evening. My work is done by now. I'll go straight to the airport, and take the flight for Hongkong at 07:00 PM this evening".
"So, you come only for taking those few photos?" I wondered.
"Yes. I only take photos for this article on CHOÉ".
"How many photos would you use for?"
"Just one, or two, may be".

In reality, the Editorial of L’HEBDO used only one photo for the article about CHOÉ, one of six representative figures of Vietnam for the day of April 30, 1995.



Tuesday, January 20, 2015

L’HEBDO and CHOÉ - English


L'HEBDO - Cover - May 1995

L’HEBDO and CHOÉ

Early 1995, we received a letter, via post office, from the Editorial of L’HEBDO in Switzerland. L’HEBDO asked if we could arrange an interview for its reporters with CHOÉ, the most famous Vietnamese political cartoonist of Saigon before 1975, and take a few photos of CHOÉ with some of his recent artistic works.

CHOÉ agreed with the interview, to be conducted at LAO ĐỘNG (Workers) News Paper Office, where he was collaborating. As to the photos, CHOÉ proposed they would be taken at TỰ DO (Liberty) ART GALLERY, where nearly all of his recent artistic works had been conserved since 1988, after he was released, for the second time, from re-educational camp.  

L'HEBDO - Page 33 - May 1995 

We replied to L’HEBDO on behalf of CHOÉ. L’HEBDO sent us a letter, setting 2 appointments: A female reporter would meet and interview CHOÉ at the LAO ĐỘNG (Workers) News Paper Office in the morning of 24-4-1995, and a male photographer would meet CHOÉ to take photos at TỰ DO (Liberty) ART GALLERY at 09:00 AM on 25-4-1995. Emails were not available at that time. All correspondences were through post office. A letter from/to Switzerland would take 7-10 days. 


Right at 09:00 AM on April 25, the photographer arrived and met CHOÉ at TỰ DO ART GALLERY. He perused all of CHOÉ's works; then decided upon "TWO FRIENDS". This painting described two wounded veterans of two sides of the war, one blind, one lame, helping each-other to go around begging. The painting was displayed at a roadside easel just in front of TỰ DO ART GALLERY. CHOÉ sat by the side of his work, trying numerous positions for his photo shot. The photographer worked continuously from 09:00 AM to 02:00 PM; he took 5 rolls of films. Digital camera was not available at that time.

CHOE - TWO FRIENDS - oil on canvas - 100cm x 100cm


After everything had been done, the photographer prepared his belongings.
"Do you take any more photographs related to April 30?" I asked. 
"No", he replied. "I've just arrived yesterday evening. My work is done by now. I'll go straight to the airport, and take the flight for Hongkong at 07:00 PM this evening".
"So, you come only for taking those few photos?" I wondered.
"Yes. I only take photos for this article on CHOÉ".
"How many photos would you use for?"
"Just one, or two, may be".

In reality, the Editorial of L’HEBDO used only one photo for the article about CHOÉ, one of six representative figures of Vietnam for the day of April 30, 1995.

San Francisco, January 20, 2015



Friday, October 24, 2014

Nguyen Xuan Khanh - (B. 1969 Hai Phong - D. 2001 Saigon)




Nguyen Xuan Khanh - Self Portrait - oil on canvas - 75x65cm





NGUYEN XUAN KHANH

Born: 1969, Hai Phong City, Vietnam
Death: 2001, Saigon, Vietnam



Khanh has loved painting since he was a little boy; so he asked his parents to let him join the club for gifted children in Hai Phong City. Although his father didn’t fully agree, Khanh received strong support from his mother. His father at last acquiesced to his wife and child.

Nguyen Xuan Khanh - My Son - oil on canvas - 83x96cm


The class for gifted children taught them to draw daily-life objects such as a rice bowl, tea cup, a leaf...It took a long time for most children to accomplish the lesson. For Khanh, however, those were simple exercises.

Nguyen Xuan Khanh - Portrait - oil on canvas - 80x65cm


Khanh's gift for drawing led him to a job with a renowned and pernickety reproduction ceramics producer in Hai Phong City. His finesse allowed him to reproduce subtle textures of ceramic from Tsung, Yuen, Tang era. The pay wasn’t bad, but Khanh didn't want to be a copyist. His dream was to be a visual artist.

Nguyen Xuan Khanh - Young Girl and Lotus - Gouache on paper - 70x60cm


Khanh's father was a high school teacher in Hai Phong. He was the younger brother of Mr. Nguyen Xuan Vinh, the former commander of the Vietnam Republic Air Forces under President Ngo Dinh Diem (South Vietnam). With such identity, it was not easy for him to to keep his post on the pulpit in North Vietnam before 1975. That background caused several troubles for Khanh as well. His father always kept this problem in mind. Because Khanh was also gifted in mathematics, his father hoped Khanh could go far in Sciences. But with Khanh, family background was no matter; he only liked painting and wished to become a visual artist.

Nguyen Xuan Khanh - Flowers - oil on canvas - 83x96cm


Khanh participated in many art exhibitions in Hai Phong City such as exhibitions for children, for young artists, for stable and renowned artists. Hai Phong senior artists used to consider Khanh as a young fellow of their artistic group.

Nguyen Xuan Khanh - Landscape - oil on canvas - 83x96cm


At a two men show together with artist Dao Hai Phong in Hanoi in 1990, 2 gouache drawings by Khanh were sold at US$200. It was the first time Khanh earned money from his art-works, and it was a great sum in the northern of Vietnam at that time.

Nguyen Xuan Khanh - Tam Bac Riverside - oil on canvas - 91x117cm


In 1993, Khanh was awarded Nguyen Binh Khiem Prize of Hai Phong City.


In 1993, Khanh got a job as illustrator and designer for the magazine THE GIOI MOI (NEW WORLD) of National Education Department, and moved to Saigon. The magazine office was only 100 meters away from Tu Do (Liberty) Gallery. Thanks to that, we could canvass Khanh's works since his first week in Saigon.

Nguyen Xuan Khanh - Two Kerosene Lamps - oil on canvas - 65x80cm


Khanh brought in all his works from the North: about 50 gouache and water color on paper drawings. Most of them were landscape, seascape; a few were human and still life. The quantity of each category demonstrated Khanh's forte in landscape, especially his exquisite and inspiring rendition of Tam Bac river. Tam Bac is the river which bisects Hai Phong City.

Nguyen Xuan Khanh - Boats - oil on canvas - 80x50cm


With artistic view, Khanh conveyed a sincere love for his hometown with floating boats on the river, and houses along the banks. Khanh's works spoke his own language and soon became popular. More than half of the drawings Khanh brought to Tu Do Gallery were sold in the first month.

Nguyen Xuan Khanh - Portrait - oil on canvas - 75x65cm

 I proposed Khanh to try his hand with oil color. Marvelously! Khanh succeed with the very first oil painting. Khanh's oil landscapes were deeper, more sparkling and lively than his gouaches and water color. Khanh's portraits were also so charming, his still lives and flowers, dainty.

Nguyen Xuan Khanh - Seaside - oil on canvas - 100x100cm


Khanh threw broad brush strokes, full of self-confidence, with lively and bright colors. Khanh used crude and antagonistic colors such as blue, green, red, yellow...then he created intermediary with soft light shadow lines, harmonizing the oppositions of colors. Nguyen Xuan Khanh's oil paintings were soon welcomed by art lovers, especially by serious collectors.

Nguyen Xuan Khanh - Two Friends - oil on canvas - 83x96cm


Nguyen Xuan Khanh's art is a beautiful union between Impressionism and Fauvism. Whether it was a scene of splendor dawn at sea, or a bright slanting sun-beams floodlighted on a lonely shrine at the top of a hill; all of them were magnificent, charming and romantics. Khanh drew comfortably like a virtuoso musician who already mastered his instrument. He didn't have to pay any attention to technique and let his soul fully immerse with the sounds of music. Observing Khanh working, I felt as if the brush in his hand had been totally forgotten and Khanh was stretching his soul onto the canvas.

Nguyen Xuan Khanh - Boats and Sea - oil on canvas - 65x95cm


When asked why he preferred landscape to other categories, Khanh answered “Because I love graceful sceneries, at times they were so stunning that I wished to lay down my life so my last moment would be one of sublime beauty.

Nguyen Xuan Khanh - Highland - oil on canvas - 60x80cm


Khanh quit his good job at NEW WORLD Magazine to reserve all of his time and mind for artistic works.


Khanh held many painting exhibitions in Vietnam. His first exhibition abroad occurred in 1997 at H&S Gallery in Brussels, Belgium. His second exhibition outside of Vietnam was at Atrium Gallery, Melbourne, Australia in 2000. Both those exhibitions were successfully in terms of finance as well as public opinion.

Nguyen Xuan Khanh - Street - oil on canvas - 59x79cm


Only a few months after his exhibition in Melbourne in 2000, Nguyen Xuan Khanh passed away on 20 March 2001, after a traffic accident at Seventh District, Saigon. He was 32 years old at that time.

 
Nguyen Xuan Khanh - Portrait - oil on canvas - 60x55cm

From 1993 until his last day, Nguyen Xuan Khanh was a professional artist, lived by his art works. Khanh created about 400 artworks during this period. Most of them are oil on canvas; 70 percent of which had been collected by art lovers through Tu Do Gallery.

Nguyen Xuan Khanh - Tam Bac River - oil on canvas - 83x96cm


I hope there would be some further studies which evaluate Nguyen Xuan Khanh's art fairly and thoroughly.


San Francisco
1-October-2014

Wednesday, August 27, 2014

SYLVAN SENTIMENTS



Artist’s Statement

SYLVAN SENTIMENTS



Modern urban civilization has developed and expanded rapidly paralleling the rise of many ecological, environmental, and social problems.  Every aspect of society seems to be threatened by the negative consequences our urban civilization.  Human suffering is no longer limited to a few factors, but encompasses all aspects of our society. Life is cheapened and suffering becomes the norm, yet there is no outlet.



My present work contains neither a warning nor a message, but is an introduction and introduction and invitation into a peaceful terrain away from conflict, competition, or a sense of inferiority; it is a space void of any pressure, jealousy, or comparison  through division of social class or status.  Everything has its place, allowing us to more easily accept its natural state.  Every sense of melancholy or happiness occurs in its natural rhythm, and interestingly adds to the mysterious movements between light and darkness. Mankind is an element of nature; thus, we share in the mystery of nature.



I want to denounce the materialistic civilization, its consequences, and its inhuman industrialization.   I want to return to the original beauty and goodness of nature.  To return to nature and to engage with nature is to realize the beauty of human values, as well as to admire and to discover the mystery of space and terrain filled with symbolism.



Boston, August 2014
NGUYEN TRONG KHOI