Mother Dearest 

(2024-present)




Flipping through the pages of one’s own family photo album is much of a revelation to myself - recognition of nostalgia for a time that passed, but also disconnection to its traditions, its pains and stereotypes. When that is recognized in oneself, yet current times are horrid and uncharted, what is there left for us to connect with?


Impressions of pain and power produced with quotidian bodily expressions when the sense of disembowelment, formed under the urgency and rapid nonsensical growth in the local landscape, become felt by its inhabitant. In this, “the dreamed ones” emerge from a “dreamscape” of consciously amassed and richly saturated assortment of fabrics or untouched pre-existing tableaus, reciting dreams that closely relate to reality, as they carry out seemingly trivial acts of comfort- whether it is brushing hair, talking shit, stretching, or dreaming.


Collages of window steel frames and copper roofing panels with videos and photography refer to the hastily built homes, yet move and glimmer like a mirage. I attempt to capture this strangeness in local changes of landscapes and morales in a more personal language, a nod to how dreaming has now become second nature to the Vietnamese people.




-soon-