Artist Biographies

Helene Carpenter

A Singaporean-based British painter, Helene Carpenter is an artist whose paintings escape geographical location. Her artistic career began over 20 years ago studying at Wimbledon school of Art and RCA; since then her work has constantly progressed and expanded. From her constructivist background her work redefines the boundaries of paint and light as she searches for images that touch the heart. Her paintings frequently allow the viewer to enter a momentary world of escapism: where lollipop flowers with golden sunsets, evocative seascapes and cascades of vividly portrayed horizons do more than simply fill the canvas; they touch the soul.

“When life’s circumstances change; sometimes you back track through memories to find your feet, to regain your balance before you move forward. I found my balance in a garden, my secret garden, here in Asia. The persistent vegetation here in Singapore is always trying to defy this modern city and reclaim itself as jungle – This passionate determination inspires me and gives me hope for my spirit to travel forward.

“I am not a natural gardener, so amending myself to the subtleties of the Singaporean environment has been a learning curve which has ultimately affected my work. I believe I have become more patient, layering the paint to create a subtler refraction. The intensity of light in Singapore/Asia has caused the colours and the paintings to become more vibrant and more powerful. The subject matter appears more conservative than my previous works, as ‘Flower Paintings’ hardly seem an intellectually challenging subject matter, yet the paintings of present have become a vehicle that traces my past, incorporates my present day and alludes to the future I wish for. They have a sense of Joy, as that is the mood they were created in.

“Robert Henri once wrote ‘Your style is the way that you talk in paint.’ My interpretation of this is that making the unknown familiar creates a sort of calm, a languid faith in the divine. Not ever really knowing what is over the horizon or what is out of the window, by catching or anticipating a moment one can almost crystallize history; or if anything simply create a clearer perspective on life. These new paintings aim to portray some purity and to incorporate composure in chaotic world.

“‘The Blossoming Paintings’ aim to combine some of the diverse elements of the global world life that we live in. I would like the paintings to appease the stresses of daily life and evoke happiness, rather like the comfort of a familiar arm chair, and hopefully create a place of rest for the viewer.” -Helene Carpenter

Nguyen Chu

Nguyen was born in 1957 in Dalat, Vietnam. This region, which lies in the highlands of Central Vietnam, boasts what could be described as year round spring weather. Beloved by the Vietnamese, Dalat is famous for its tea, pine trees, flowers and fresh air as well as for its history, a part of which is represented in the vacation homes built by the French during Vietnam’s colonial period.

Nguyen’s artistic world has been described as something akin to ‘movement stillness’ and ‘stillness in movement’-inspired by the Oriental philosophy of yin and yang.

Thus, many of his works are either still life or landscapes. Of these, one of his most representatives is a landscape featuring fishermen in the rain. This particular work is composed of three sections: mountains, water and in the foreground, the fishermen, painted in shades of blue and green. The static mountains and water fuse naturally into the active image of the men. However, the sheets of rain, painted in grey, give the entire canvas a very placid sense of rhythm. The strength of the blue and green background balanced by the thin, ash-coloured lines, adding a touch of softness, along with the Oriental sentiment suggested by the falling rain. Nguyen’s work leads viewers into a quiet, meditative world where there is a quiet in movement and silent movement within stillness. Nguyen, graduated from Hanoi’s School of Fine Arts and works as a full time artist.

He has exhibited his work Europe, Singapore, Australia and the UK.

Haly

Born Central Vietnam 1946, Haly is a self taught painter, still living in a rural village community in Central Vietnam.

He is one of the older generation of self taught artists in the region. His monochromatic oil on canvas street and river scenes are a peaceful reminder of an area where it seems time has forgotten.

The slow pace of life he enjoys in the Vietnamese countryside, itself a far cry from the hustle and bustle of Vietnams two major cities, Hanoi and Ho Chi Minh (formerly Saigon) is quietly captured on canvas to offer the viewer the peace and quiet that prevails.

Haly has enjoyed much success at domestic exhibitions in the capital, Hanoi, and also overseas in Singapore, Australia, UK and parts of Europe.

Hien

D. Hien was born and grew up in Vietnam. She began painting at a very early age.

Her subjects are often scenes from her homeland and its people and customs: a young woman wearing the flowing ao dai ("long dress"); ladies at the market; and landscape.

In all her work, she seeks to evoke emotions common to people.

D. Huy

Vietnamese artist D.Huy, born 1951 in Hanoi, captures the daily life that surrounds him with his emotional oil on canvas paintings. Though the seasonal red and yellow trees have always been and still remain a popular subject amongst Vietnam’s leading painters, Huy’s work stands apart from that of his peers. His use of color is quite bold but not overwhelming, his shadow work is incredibly realistic and the appearance of his diminutive figures lends a subtle contrast to the magnificent presence of the trees. The perspective of his work is almost three dimensional. So much so that the viewer is engrossed and with a little bit of imagination they are transported to the scene of the painting themselves.

Huy studied at Architectural University for 5 years and after graduating, lived and worked in Ho Chi Minh City. He is a member of the Fine Art VN Association and has exhibited in many domestic and international exhibitions including:

• 1996: Solo exhibition in Ho Chi Minh City
• 1997: Group exhibition in Hoc Chi Minh City
• 2002: Solo exhibition in Hanoi
• 2003: Joined the Fine Arts Association's Exhibition 2003
• 2004: Joined the Fine Arts Association's Exhibition 2004
• Since 2005: Joined many group exhibitions and charitable exhibitions 2006: Successful solo exhibition in America

Huy is permanently represented by Red Sea Gallery, Singapore and lives in Hanoi.

RED AND YELLOW TONES IN DUONG HUY’S LANDSCAPES

Born in 1951 in Hanoi, Duong Huy studied architecture for five years and post-graduation lived and worked in Ho Chi Minh. He currently resides in Hanoi. Duong Huy is known as a notable landscape painter who thrives on his art. His landscapes are characterised by their vivid use of tones and colours and drawing shapes and figures by playing with light. His unique treatment of light conveys different shapes of feelings in concrete situations of time and space.

The artistic image of Duong Huy’s paintings is flowering plants with a whole hierarchy of tones and colours. A large flowering plant generally occupies the central part of the composition but no flowers or flower stems are visibly depicted. It is interesting to note that here are no such large flowering plants or trees with brilliant tones and colours likewise in nature. By association of ideas, I recall master painter Picasso’s words: “I paint jointly with Nature and not after it”. It means that both Nature and the artist’s very nature will gradually go into the picture. The flowering plant that seems to have been illogically drawn turns out to be logical when judged after Duong Huy’s thoughts and feelings.

Here I merely deal with the painter’s orientation and artistic views together with his approach of Nature and treatment of the landscape painting technique. As for the artistic value of Duong Huy’s pictures, I would like to reserve it for time and the public’s assessment. The genuine beauty of an artwork always lies ahead. Each artist is thus required to discover his own self and own way of painting; only by trying hard might he hope to carve out a place in the nation and the times’ artistic life. Now I beg to introduce Duong Huy’s works to the public.

Hanoi, May 30, 2008
L Ê QU ỐC B ẢO
Art Critic

Lim Khim Katy

Katy was born in 1978 in Ho Chi Minh City. She graduated in 2001 from Ho Chi Minh City Fine Art University and became a member in 2005 of the Fine Art Association of Ho Chi Minh City. She is also a member of Vietnam's Ethnic Minorities.

Despite her relative youth, Katy displays a surprising emotional maturity and seriousness of intent in her work. The subjects of Katy’s paintings are often the urban or rural poor; those less fortunate. Unlike many Vietnamese artists, she eschews the common tendency to portray an idyllic picture of Vietnamese life in favor of something more true to her own experience. As she describes it:

“My paintings come from the feelings generated from the life all around me; from people’s eyes, gestures and the individual emotions they express. These instants are profound and refuse to leave me until expressed on my canvases.”

Katy’s paintings are also striking for their bold use of colour and the confident flowing strokes she uses. The child of a Cambodian father and a Vietnamese mother who met during an art class, Katy says:

“My inheritance includes a love of colour, a familiarity with brushes and an attraction to shapes from the time that I first became conscious of the sun and the moon….”

Katy is the recipient of numerous awards including:

• 2001: Certificate of Merit at Vietnam National Fine Art Exhibition for the painting ‘Naptime’.
• Certificate of Merit at Asia- Pacific Contemporary Fine Arts Exhibition organized by Phillip Morris for the painting ‘The power of members’.
• Certificate of Merit of section 6 Exhibition for the painting of ‘Silence’.
• 2003: Award from the Vietnam Literary and Artistry Association at Section 6 Exhibition for the painting ‘Empty of bowls’.
• 2004: The third prize in the Young's Eyes exhibition organized by the consulate General of France and Vietnam Literary and painting ‘Empty Bowls’.
• Consultation prize at Vietnam ethnic minority artists exhibition organized by the Fine Arts Association for the painting ‘Everyone has his own dreams’.

Kyss

Kyss' quest of the spiritual world of Asia began, 30 years ago when he left France to travel through India, Nepal, Thailand and Japan.

With an impeccable photo-realistic oil painting technique and a mastery of light and shade, Kyss depicts the particular quality of each Buddha image. Using acrylic paint, gold leaf and other secret ingredients, he depicts the ancient patina of stone statues, worn by thousands of years of monsoon rains; the warmth of gold leaf that flakes off in patches over time; the textures of verdigris on centuries-old bronze. Kyss says “When I paint, I pray with my brush.” Modestly, he sees himself as merely a channel between the model and the viewer. When he has finished painting, his majestic images of the Buddha take on a life of their own, seemingly three-dimensional and creating an atmosphere of awe-inspiring calm and serenity. Gently smiling and serene, often on a monumental scale, these peaceful, dignified faces are powerful representations of outward tranquility and inner reflection.

Born in France in 1949, Kyss studied art at L’ecole des beaux arts Macon Grenoble, Paris (painting, etching, lithography, sculpture and also history of art and animated movies) until graduation, when he became an art teacher as well as a film maker and artist.

Since the 1970’s Kyss has exhibited in France, Switzerland, Vietnam, Cambodia, Burma, Thailand, Singapore, UK, Australia and the USA, while still lecturing and teaching at art schools and colleges in France.

Le Thong

The realistic representation of the serene, regal faces and slender hands of Le Thong’s subjects blends into an abstract background of intensely colored, textural layers. The partially visible figures and sublime tones lend the work an ethereal quality. Le Thong creates a supremely modern body of work, citing traditional forms with his subject matter and transposing them into a thoroughly modern representation. His work hangs in the balance between traditional, sweet, serene subject matter and vivid, passionate techniques and colors.

Le Thong was born in 1961 in North Vietnam, into an artistic family. His father, Le Thiep (1924-2000) was a well-known artist who taught at the Hanoi Fine Art University, where Le Thong is also a lecturer. Le Thong studied both in Hanoi and at the Kiev Academy in Russia, where he underwent strict and thorough training. Several of his works have been collected by the Vietnam National Fine Arts Museum. In 1999, he won the Philip Morris Asean Art Award and in December 2000, he was awarded a silver medal (the highest recognition) by the National Fine Arts Exhibition.

M. Loc

Born Central Vietnam 1950, M.Loc is a self taught painter still living in the Central region of Vietnam.

His old town series of paintings feature cobble stone streets and uneven walled houses and shops, a true reflection of how life still is today.

From the same group of self taught artists as Haly, he also presents a style of painting which depicts tranquility and a slow pace of. In contrast, though, his use of colour adds a cozy touch of warmth to his paintings with the subtle use of reds and oranges.

Toni Agung Luwiyanto

Born in Surakarta, Indonesia,1972. Graduated from Department of Art UNS Surakarta (2000).

Exhibitions:
His paintings have been in collective exhibitions at Campus UNS Surakarta, Central Java (1993), Taman Budaya Surakarta, Central Java (1994 and 1995), "Kelompok PAHAT" in Surakarta, Central Java (1996), a group exhibition between UNS Surakarta and USQ Australia, Centrl Java (1997), "Human Form" at Pranoto's Gallery, Ubud Bali (1998), Nomination of Indofood Art Awards, Jakarta (2002).

Artist’s statement:

“There are two things that are so important to my art works; rivers and markets. From river I have learned about the flowing of the water and the stillness of the stones. From markets I have learned human living, about spirit of life. Especially I was inspired by the living of the Javanese and Balinese traditional woman in the market. My painting is not about the market itself but about the mystery of human existence”.

Yusron Mudhakir

Yusron Mudhakir, born 1977, in Central Java, spent his childhood suppressing his artistic instincts. A consequence of fiscal oppression rather that deliberate parental intervention, Yusron did not share with others his longing to pursue painting and instead threw his mind toward literary matters to become a fastidious reader of philosophical works. Eventually, Yusron rose above the challenges that poverty presented in his youth to become a doyen in a coterie of promising young Indonesian artists.

From the comfort of western liberalism, it is difficult to comprehend that these artists from developing nations face in having their talent nurtured and ultimately realized. Through fiscal adversity, Yusron's preoccupation with the visual arts refused to ebb. Buoyed by his putative talent, perhaps a genetic consequence of his father's religious role as a village artist and his mother's affiliation with the stage, Yusron tried to enroll in Yogyakarta's Institut Seni Indonesia as soon as he was eligible and able. Here, in 1996,after one failed entrance attempt, Yusron would finally receive a level of formal arts education, worthy of the ability he knew he possessed but had to suppress as a child.

Yusron's forte for painting flourished under the tutelage of his lecturers. The subject of his earlier works was indicative of his youthful state of mind; his restlessness and his realization that things in the world were not as they should be.

Yusron's optimism and joyful nature shone through in his series of abstract 'natural light' paintings. He toyed with the play of light through the window from his studio.

Alfred Whitehead the famous English mathematician once said that' an enormous part of our mature experience cannot be expressed in words'. An artist like Yusron, proves this theorem correct. His paintings show extraordinary maturity for someone so young. This global maturity best shines through in his 'People in the World' series of paintings. His brashness in tackling an unimaginably diverse subject for even the most senior of artists was rewarded with a commendation at the 2001 Phillip Morris Indonesian Art Awards.

Whilst Yusron does not employ realism in his paintings, his quirky style ensures his subjects are lively and expressive, much like the artist himself. Looking at Yusron's art produced in the past decade, it is difficult to classify his style or herd Yusron into one category of artists. There are hints of modern impressionism in his abstract paintings as he stimulates actual reflected light through the window. There are certainly elements of expressionism in his works on 'Women' and 'People in the World'. Whilst some criticize artists who do not entrench themselves in one particular style of painting, in Yusron's case his multi-faceted works are a cause for celebration. His journey as an artist has led him from the village where he was unable to paint, to his status now on the cusp of emerging as a global artist. Perhaps, the secret to Yusron's success is an unconscious subservience to Van Gogh's belief that "paintings have a life of their own that derives entirely from the painter’s soul".

Yusron has exhibited extensively in Indonesia, Australia, Singapore and New York.

Mark Olsen

Mark Olsen began painting professionally only 5 years ago and has rapidly emerged as one of New Zealand’s hottest artists. He was a finalist in the 2003 Wallace Art Awards and the 2004 Portrait Gallery Awards and was invited to hold a solo exhibition at the prestigious Mall Galleries in London in February 2004.

In 2005, Marks’s international presence continued to increase with a third solo exhibition in London and his first exhibition in the USA.

Mark paints expressive oil portraits of eccentric characters, with bold texture and color that invites the viewer into a powerful imaginary world.

Artist Statement:
Like you, I love the marvel that is art.

I am often asked where I get my ideas from, but I experience it the other way round: the ideas get me. The art of creating a character on canvas is a journey of discovery each time. I never know exactly who the personality will be until we meet the end. The work is finished when the painting looks back at me.

his past year has been full of new realizations. I have discovered that unrelated things become more interesting when fused together. That it is easier to see when you are not looking. Painting with the canvas upside down or looking through a mirror provides a new perspective. Shutting my eyes allows me to see more.

Creating art is not about finding freedom, it is about finding obstacles. By putting aside doubt and doing what I cannot yet do, I learn how to do it. When things seem under control I realize I am not pushing myself enough.

By continuing to follow my bliss I have discovered the images you see. I am humbled by my success to date and the demand for my work. Thank you for sharing this journey with me.

Dao Hai Phong

Phong was born in 1965 in Hanoi and is currently a member of the Vietnam Fine Arts Association. He is the son of the well known artist Dao Duc. After studying film at the Hanoi College of Film and Theater from 1982-1987, he won a medal as designer at the Vietnam Film Festival for his outstanding contribution to this medium. Although he had painted as a hobby from the age of six, it was only after graduation that Phong started to focus on developing his individual style.

"When Fine Art descends onto the streets with appeals, it presents a love of beauty, voiced sufferings, expanding the limits of experimentation and discovery of furtive sexual desire and eroticism, as well as modernistic tradition,” says the artist.

Art critic Nguyen Quan has described Phong’s work this way: “Dao Hai Phong’s paintings give us space for serene, peaceful and sincere contemplation. He is a prolific painter but his work is measured and controlled. A deep meditation lurks behind romantic flashes of trees, cloud, sky, a street in the rain, walls, windows and dark rooms. He adapts influences with a genuine, unorthodox learning spirit, in a way that avoids an oppressive personal perspective. Objects and subjects in the paintings, as well as method and style of expression do not seem distinctive, yet they actually have their own novel character. They are graceful to life and meaningful to art. "

Phong likes to use blue and other luminous, radiating colours. Most of his paintings are landscapes inspired by his travels when working on films. Although he was born and grew up in the city of Hanoi, he has recently been drawn more and more to the beauty of the countryside. In 1992-1993 he changed his idea about colour and began incorporating the use of softer colours such as grey with the vivid blue. Phong admires other artists such as Le Thiet Cuong and Truong Tan, however he believes that each artist is like a tree in a forest - each tree must have its own style.

Since 1992 he has held the position of Chief Designer of the Viet Nam Film

Studio, but in the meantime has continued to paint and exhibit his work, including:

• 1993 : "Hanoi memories" (with Le Thiet Cuong), Hanoi, Vietnam
• 1994 : "The Art of Viet Nam", Roy Miles Gallery, London, UK
• 1995 : "After Dark - Landscape of Light", Hoa Sen gallery, Hanoi, Vietnam. (Proceeds to Hanoi children' charity.)
• 1996 : "Three contemporary Vietnamese painter", LFK gallery, - Hong Kong “Independent in Hanoi", Nam Son Gallery, Hanoi, Vietnam
• 1997 : "Past and Present", Nam Son Gallery, Hanoi, Vietnam.
  • "A glimpse of Hanoi", Duc Minh Gallery, Ho Chi Minh city, Vietnam.
  • "View of contemporary art" - Vientiane - Lao.
  • "A view from others", Dong Son Gallery, Hanoi, Vietnam.
  • "A Winding River - Stages Of Vietnamese Contemporary Art", Meridian International Center, Washington DC , - USA.
• 1998 : Hanoi Fine Art Exhibition, Hanoi, Vietnam.
• 1999 : "Pure and Piercing Color", Rich and Famous Gallery, Rapperswil, Switzerland.
  • "Twilight Moment", Solo Exhibition at Plum Blossoms Gallery, Hong Kong and Singapore.
  • "Peaceful Season" Solo Exhibition at Apricot Gallery, Hanoi, Vietnam
• 2001 : Solo Exhibition at Kim 3 Gallery, New York, USA
• 2002 : Group Exhibition “To The New Season ” in Dragon Gallery, Hanoi
• 2003 : Solo Exhibition one night at Kee Club, Hong Kong

Nguyen D. Quoc

Quoc was born in 1954 in Hanoi. He graduated from the Hanoi Fine Arts University in 1983 and the Cypukob National-Fine Art Institute in Moscow, Russia in 1989. He is currently a member of the Vietnam Fine Art Association.

Quoc has exhibited in Asia and Europe, including:

• 1990: National Fine Art Exhibition in Hanoi.
• 1993: Group show “Five New Faces” in Hanoi.
• 1994: Vietnamese Painting in Amsterdam, Netherlands; Group show “Five New Faces” in Ho Chi Minh City.
• 1995: Group show “Five New Faces” in Hanoi; National Fine Art Exhibition in Hanoi.
• 1996: Group exhibition at Namson Gallery - Hanoi.
• 2000: Solo exhibition in Hanoi Art Gallery - Hanoi.
• 2002 - 2005: Exhibition of Vietnam Art Organization.

Manjeet Shergill

Born in Singapore in 1966, Manjeet was one of the first students to attend St Patrick’s Art Centre (now LASALLE-SIA College of the Arts), started by the late Brother Joseph McNally. Having completed her course, she continued to study with other artists, and has developed a personal style that remains iconic.

Her portraits reflect her study of early twentieth century artistic movements, with a twist in perspective that alludes to Picasso’s Cubism, and a simplicity that responds to Modigliani’s portraits, but it is the influence of Matisse that overlays Manjeet’s approach to her subjects.

“Matisse was not a revolutionary but an innovator - he did not reject the pictorial tradition which had gone before, but instead studied it with humility and respect, he assimilated and reinvented it, adding his own personal view.”

Focussing on colour and lines, Manjeet works within her cultural heritage, to express a quality that for her is specifically Singaporean. She also doesn’t forget the artistic movements that influence her aesthetic, such as Post-Impressionism and Fauvism. There is an immediacy in the lack of depth and perspective which Manjeet considers to be an aspect of Singaporean culture, as expressed in her subjects.

“My main themes are womanhood, expressed in simple and direct portraits, and floral still-lives, with the plants plucked and contained.”

Susana

Susana was born in 1967 into a family of artists in the village of Mas, Indonesia. Mas is a renowned centre for wood sculpture and carving and both Susana’s father and grandfather were well-known and respected in the art. Susana studied fine art, art design and architecture at Udayana University. He enjoyed a successful career as a cartoonist for several years before concentrating all his artistic efforts on painting, fulfilling an ambition he had from his childhood. Among the various styles that have influenced Susana, the works of Jeremias (Jerry) Elizalde Navarro, a renowned Filipino artist who spent decades studying and painting in Indonesia, with whom Susana studied for several years until Navarro’s death in 1999, have perhaps been the most inspiring.

Susana takes his architectural education to the canvas by painting buildings and land forms, mixing acrylic paint with sand, creating a realistic texture not dissimilar to that of the subject which he is painting. The red colours form an atmosphere related to rising and setting suns on his buildings and the blues form the sea surrounding the land forms.

Susana has exhibited in galleries throughout Indonesia. His work is currently gaining in popularity in Europe, Singapore, Australia and the UK.

B. Thang Hoang

Thang has now established himself as one of Vietnams popular young artists. His work is of traditional women from the north of Vietnam depicted in a semi-abstract form.

He has recently taken part in a successful joint exhibition of Vietnamese artists in Hanoi and is collected by modern art enthusiasts on a world wide scale.

He has enjoyed immense success in the past year exhibiting at Red Sea Gallery, Singapore.

Truc

Truc, born 1967 in Hanoi, Vietnam, is the leader amongst his peers in this modern monochromatic style of painting. He studied at the University of Fine Arts, Hanoi, where as a freshman he received many awards for his paintings at the exhibitions of the school as well as at the exhibitions of Hanoi Fine Arts Association.

He is currently lecturing at the College of Fine Arts in Hanoi, but still manages to paint full time. His work is always received with high acclaim and continues to sell out at exhibitions worldwide. Truc has exhibited extensively in Vietnam since the mid 1990’s, and now exhibits in the US, UK, Hong Kong, Australia, France and Singapore.