"In my current work, I explore the intricate narratives of the Vietnamese diaspora, viewing moments of arrival not just as points in time but as intersections of complex stories shaped by displacement."
Duong's Instagram: @duonguyen.thuy
How and when did you know you wanted to be an artist?
Growing up in Hanoi, Vietnam, I was profoundly influenced by the rapid urbanisation of my city. Witnessing the transformation of landscapes and communities sparked my curiosity about origin, memory, and belonging. It was during these formative years that I realised art could be a powerful medium to explore and express these themes, leading me to pursue a career as an artist.
What was your experience of art school?
Art school was an enriching and transformative experience for me. It provided an analytical and heterogeneous space where intellectual rigour was prioritised. This environment allowed me to delve deeply into my interests, experiment with various materials—from cement and metal to paper and dust—and refine my artistic perspective. Collaborating with peers and mentors also broadened my understanding of the role of art in society.
Can you tell us more about the ideas and inspiration behind your work?
In my current work, I explore the intricate narratives of the Vietnamese diaspora, viewing moments of arrival not just as points in time but as intersections of complex stories shaped by displacement. Inspired by Joan Wakelin's poignant photographs of Vietnamese refugees in Hong Kong detention centres from 1989 to 1990, archived at the V&A Museum, I aim to bridge past and present to deepen contemporary understandings of identity and belonging.
I employ photographic reproduction alongside embossing techniques on aluminium surfaces to add layers of meaning to each image, reflecting the multifaceted nature of diasporic existence. The series consists of sixteen hand-embossed images, each serving as a window into the lives of Vietnamese refugee communities. Central to the collection are images of children in the detention centres.By presenting these images in a dualistic framework, moments of familiarity intertwined with the alienation of displacement. Through this juxtaposition, the series becomes a testament to resilience and adaptability.
Are there other artists or movements that have inspired your work?
Yes, several artists and movements have significantly influenced my practice. I'm particularly inspired by the works of Doris Salcedo and Mona Hatoum, who address themes of memory, displacement, and the impact of political conflict through their evocative installations. Their use of everyday materials to convey profound narratives has encouraged me to experiment with mediums like cement, metal, paper, and dust to explore complex human experiences.
The Arte Povera movement has also been influential in my work. Its emphasis on using humble, unconventional materials to challenge traditional art forms resonates with my approach to materiality and form. This movement's exploration of the relationship between nature and industry parallels my interests in environmental concerns and the effects of modern-day industrialisation.
Additionally, contemporary artists like Kader Attia, who delve into postcolonial identity and the concept of repair, have informed my efforts to decolonise narrative constructions. Engaging with postcolonial theory and movements that critique colonial histories has allowed me to address the ruptures and inherited traumas that shape individual and collective identities.
Can you describe a typical day in the studio? How do you approach your work?
A typical day in the studio involves a balance of research and hands-on creation. I begin the day by immersing myself in historical archives and photographic collections, such as Joan Wakelin's images of Vietnamese refugees in Hong Kong detention centres from the late 1980s. This research phase helps me connect deeply with the narratives of identity, displacement, and the diaspora experience that are central to my work.
After gathering inspiration, I transition to the creative process. I work extensively with materials like aluminium, employing embossing techniques to bring historical photographs to life in a new form.