This series discusses the interplay between documentary and fiction in storytelling, drawing on quotes from Jean Luc Godard, a key figure in the French New Wave :
“All great fiction films tend toward documentary, just as all great documentaries tend toward fiction . . . One who opts for one necessarily finds the other at the end of his journey.” “A story should have a beginning, a middle, and an end… but not necessarily in that order.”
It highlights that effective narratives often combine elements of both genres,
L’inspiration pour cette série provient du conte de “Từ Thức Épousant une Déesse”, une histoire qui se déroulant durant la dynastie Trần. Le mandarin rencontre et épouse une déesse dans le royaume divin. Pris de nostalgie, il demande de revenir dans le Monde des mortels pour revisiter sa ville natale. Sans le savoir, d’innombrables années se sont écoulés pendant son absence.
Se déroulant à Hué, au milieu du paisible lagon de Tam Gian à Hué,
Le Palais de l’Indépendance, achevé en 1966 par l’architecte Ngo Viet Thu, lauréat du Prix de Rome, n’a jamais été habité par le président Ngo Dinh Diem qui a demandé sa construction mais par le président suivant qui l’a fait assassiner. Il est devenu un musée depuis le 30 avril 1975, date à laquelle les chars ont fracassé ses portes.
Rebaptisé Palais de la Réunification, il est désormais le lieu de rassemblement de toutes les grandes lanternes et commémorations de la ville.
This series is inspired from the poem “Laments From the Royal Harem” written in the 18th century, by Nguyễn Gia Thiều.
The poet tells the destiny a woman of the royal harem which
was similar to his own. First a favorite of the king, she had been abandoned,
falling into an oblivion made of misery and bitterness.
As a metaphor but also a goddess, the moon is used to describe the inner sentiment of a fragile beauty.
This full series develops in the form of fictional narratives, a punctual situation where the protagonist will escape for a new life due to historical circumstances, political, economic or purely personal.
The photos incorporate a narration, signs, clues that make it possible to feel the vital necessity of this decision. Its urgency is reinforced by the title of each scene.
This scene is part of the work on the series “Escape” talking about migration. The character is looking a smoke in the distance, a violent past but also souvenirs of his native home he wants to retrieve .
Synopsis: He was an emigre, or a refugee. The terms are as they are, they can not totally define a long history of deprivations, wars, deaths.
This scene is part of the work on the series “Escape” talking about migration. The Man is in a hotel, a temporary transit place in a stand-by situation. But he has been waiting for so long. Can this phone call bring him the hope for a liberation?
This scene is part of the work on the series “Escape” talking about migration. The theme of the psychological maze is explored through patterns of doors (Thy Nguyen Truong Minh Installation), corridors, rooms, and stairs in old buildings of Saigon.
