Landscape genre: “Landscape painting, the depiction of natural scenery in art. Landscape paintings may capture mountains, valleys, bodies of water, fields, forests, and coasts and may or may not include man-made structures as well as people. Although paintings from the earliest ancient and Classical periods included natural scenic elements, landscape as an independent genre did not emerge in the Western tradition until the Renaissance in the 16th century. In the Eastern tradition, the genre can be traced back to 4th-century-CE China.” – Britannica.
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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.
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The period of year 2000 marked a pivotal moment for Shanghai as it embraced globalization, transforming into a major financial and cultural center while dealing with the complexities of rapid urbanization and economic growth. With rapid economic development came challenges, including increased inequality, environmental issues, and the displacement of communities due to urban development projects.
The Old City dates back to the 16th century and was once the heart of Shanghai. It features traditional architecture,
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There are many reasons to want to escape.
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.
In the scene of “Pattern of thoughts”
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The site of Hue was chosen for its particular properties meeting the requirements of geomancy (Feng Shui) for the establishment of the Nguyen dynasty in the early nineteenth century.
Successively , the emperors prepared and built their graves for their last journey into the afterlife.
The vital fluxes still shine through these funeral palaces whose arrangement scrupulously follows the esoteric rules.
On the site of the tomb of the Emperor Minh Mang where the art of the garden and palaces is at its edge,
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The portrait has always fascinated because it is supposed to give a glimpse of the true soul.
“Fictional Portraits” is performed under different conditions, which were not traditional posed portraiture sessions . The model had to play an undefined role in a synopsis not written in advance.
In a context of performance, these portraits paradoxically “caught on the spot” do not reflect the personality of the model.
They give us to see a double of the model’s reality,
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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.
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Study on light as a physical form or constraint form in urbanscape.
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This series highlights Confucian influences in the Vietnamese youth.
Portraits were taken at the cultural festival in the city of Hue, former imperial capital where scenes of mimes reconstituted the life in the Forbidden City. Models are wearing traditionnal ao dai dress.
Fans’ images are Chinese historical fan from the MET Archive.
The series uses the framing of drawings and paintings which is the common manner to see images on a wall or in a book.
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