Land scape
Chung Nguyen Van
CONTEMPORARY ART REVIEW
inspiration and ideas from many sources. I had the inspiration from frescoes with the ancient letters and from Chinese hieroglyphs. For example, when I enjoy Chinese calligraphy, not all the works that touch my emotion, but I find some of them interesting. I realized that the painting must be like this or like that( this is invisible when you feel) and from that time I understood invisible charm of painting. The deeper I learned about number, the more interested I was. In my visualization, I could think of my own uniqueness. I visualized that all people from birth until deaths are associated with numbers. When you are born, you will have ordinal number to mark before your name, then house number, car number, bank account number, telephone number …
Once, a person asked me:“ What is the meaning of numbers in your painting?” I answered: They have no meaning, they are my feeling, sometime I am going to draw like this, and it is finally in another way. However, finishing a completed work for people to enjoy is not simple. I have invisible feeling and intuition, for example, why is a work full of numbers but some works still have one or two numbers. I myself feel that this is fine but that is not fine or adding leads to damage or cutting down leads to lack. I also give another example of music to interpret the painting. When you hear the symphony No. 1, 2, or 3, maybe you do not like, or you prefer symphony No. 2. I am sure that you will not explain, but that ' s your invisible feeling to the music. The abstraction in my paintings, too- Viewers like, or dislike
For this special edition of LandEscape we have selected No. 8 and No. 4, a couple of paintings from your recent production that our readers have already started to get to know in the introductory pages of this article. Your paintings communicate a successful attempt to transform tension to harmony and what has at once captured our attention it ' s their dynamic and autonomous aesthetics: are your works painted gesturally, instinctively? Or do you methodically transpose geometric schemes from paper to canvas? The brushstrokes that condense your visual vocabulary have a very ethereal quality: we appreciate the way you use such straight lines to communicate a sense of motion. Can you talk about what you’ re trying to communicate with your visual language in your work?
For me, oil painting on fabric or watercolor painting on paper also has equal expressive value. For oil painting on fabric known by most people, it has many methods for your expression such as patching, filling, erasing until you satisfys. But the most important of