Chung Nguyen Van
Land scape
CONTEMPORARY ART REVIEW from Chinese ideogram, while I do not know a Chinese word. Sometimes people are confused I am Chinese, and I am very happy.
It would seem that much of your work is designed to provoke an intellectual, nonnarrative response: in particular, when we look at No. 11, we are struck by the atmosphere suggested by the combination between darkness and bright tones that saturate the canvass. Is this a reflection of you? Can you describe how this darkness that appears in your work connects to you personally?
Continue with the question, indeed, I think that the critic will answer maybe more perfect. When I draw, I don’ t impose. As number 11, I draw like the child holding stick to draw on the sand, and as I mentioned in the above, why you like, this is invisible power in mine, it continuously flow on the brush. It only needs one time to complete the work. The good thing of abstract likes that, it makes you like because it can touch your emotion. Nature of calligraphy language is always mysterious. Like me or calligrapher, if enjoying this work, it will see a different side. This is the brushstroke, speed of brush, and imagination of performer, continuously I also reveal: draw very fast, I draw this work maybe less than 5 minutes. Stylish viewers will realize, this is a secret that other materials don’ t have it. As you see, imagine the dark and light, this is a good thing, anybody imagine anything it is okay. As I look at a great painting with large format, I feel that I lost in a church.
The effective combination between both intense nuances of tones sums up the mixture of struggle and emotions. How much does your own psychological makeup determine the nuances of tones you decide to use in a piece and in particular, how do you develop a painting’ s texture? Moreover, how did you think about your style— your choices of composition and palette?
The combination comes from many things, my power, simplicity, influence, admiration for famous artists. But to success is emotion, and from influence that have to find out the own thing. Like me, I very like the work of Jackson Pollock, Willem De Kooning, Piet Mondrian …. especially Mark Rothko. For example, I very like Mark’ s work, simple but very complicated. I very like it but I don’ t permit myself to draw like him. The influence is quite clear in 2011 when I draw by many colors.