Preface

Hoang Thien Phuc’s paintings manifest as constellations of dreams, memories, and critical dialogues with reality. Upon his return to La Gi (La Di) from Sai Gon, a small coastal town in southern Binh Thuan Province, Phúc engaged in deep introspection on the symbiotic relationship between his artistic practice and the shifting natural and cultural landscape of his homeland. His second solo exhibition, Tree of Virtue, features a new series of fifteen large-scale paintings alongside two ceramic sculptures, the result of over two years of work since his first solo show at Mo Art Space.

As he observed the gradual transformation of this once-tranquil fishing town, Phuc embraced an unconventional methodology: beginning his painting process through the medium of writing. He started by composing poems, reflective notes, and occasional fictional narratives, using these literary explorations as conceptual foundations for his visual works. Each painting thus becomes a deeply personal expression, embedding layers of meaning that reflect the artist’s inner dialogue and response to his environment.

Hoang Thien Phuc depicts nature in an altered state: bent coconut trees, brought to the region as commercial crops, struggling to survive the storm; or native trees clinging to life with a single leaf,set against an electrified purple sky. The tree, entangled with pipes and tubes, symbolizes the harsh, violent conditions it endures. The two paintings, Tree of Virtue and Scene from the backyard portray a surreal, chemically altered landscape shaped by human intervention and waste. The vibrant neon colors immediately seize the viewer’s attention, evoking a whimsical, almost plastic-like representation of nature. The simplified forms, combined with a bold, saturated palette, give the subjects a sculptural quality, transforming them into striking, three-dimensional figures. This aesthetic unveils a raw, unfiltered connection between the artist and his environment, prompting us to wonder: what lies behind these whimsical glowing veils of neon-lit plants and skies?

The relationship between humanity and nature, both material and spiritual, has always been one of deep interdependence. Yet, this relationship has increasingly become one of coercion, with humans naively and recklessly believing they can control and test Nature's endurance. The naive idea of “Nature will make its way back” is often used to describe the resilience of plants and ecosystems after catastrophic events. It reflects the natural world’s enduring ability to regenerate and adapt, even in the face of destruction or human interference. To Phuc, these are trees of virtue—surviving the conditions imposed upon them by humans. And yet, despite this, they continue to follow their ancient path of coexistence, offering blossoms, bearing fruit, and providing shade, in stark contrast to humanity’s betrayal.

Hoang Thien Phuc’s works compel us to reflect on the resilience of nature and the consequences of our actions, while subtly pointing to the indomitable spirit of life that perseveres amidst adversity. But his work also raises crucial questions: What does it truly mean to be resilient? Is resilience inherently positive, whether in nature or in people? And if resilience exists, does it permit humanity to continue down its neoliberal path, justifying the ongoing harm inflicted on the natural world?

Yet, throughout his exploration, Phuc’s artistic language remains consistent—imbued with a childlike wonder and respect for the world he portrays. Moreover, through this unfiltered lens, his paintings invite us to see the natural world with the honest, curious eyes of youth, prompting us to ask ourselves: what does nature truly mean to us, through the lens of our dreams, memories, and present reality?

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