Before the event in November 2025, he spoke about his new work, his experiences at global art forums, and his hopes for the development of sculpture in Vietnam.
A global gathering in Hue
*You will soon participate in the international sculpture camp in Hue. Could you share more about the scale and timing of the event?
- The camp began with a sketch selection round in June 2025. Ultimately, 20 domestic and 10 international artists were chosen.
The event will run from November 21 to December 8, 2025, in Hue, a city rich in cultural and historical heritage that provides an ideal setting for art to engage with its surroundings.
“Breath of the undercurrent”
*What work and ideas will you bring to the camp?
- My piece is titled “Breath of the undercurrent.” It draws inspiration from the flow of the Perfume River and the resilience of Hue’s people.
Rounded forms symbolize hidden vitality, while the central void suggests a city gate’s dome, the first light of dawn, and a new chapter, signifying continuity between past, present, and future.
The granite sculpture, 1.5 meters tall, conveys durability and solemnity. Through it, I want to express patience, growth, and the harmony of culture, nature, and art.
Learning through exchange
* You have participated in many international creative camps, especially the Hanoi Art Connecting Workshop. What stood out to you there?
- I joined four consecutive seasons, from the 4th to the 7th editions. What impressed me most was the openness: artists not only showcased works but also created and exchanged ideas together.
It fostered a vibrant and collaborative atmosphere. The organizers also brought in lecturers, students, and the public, allowing everyone to contribute.
Promotion extended beyond traditional media, reaching audiences through social networks and behind-the-scenes stories.
* In 2018, you participated in the international sculpture camp in Thailand?
- Yes, I attended the international wax sculpture event in Ubon. It was held during a traditional festival, so artworks were not just displayed but integrated into the community’s cultural life.
My piece used a contemporary sculptural language while maintaining local resonance. It was both a proud memory and an important learning experience.
* After each international camp, what do you usually take away?
- Each one gives me renewed energy. The multicultural setting expands my perspective and builds my confidence.
The most valuable outcomes are the genuine connections with other artists, these allow art to transcend borders and reach people directly.
A local beginning in Gia Lai
*Recently, you participated in the first “land and people of Gia Lai” sculpture camp. What was your biggest impression?
It was a pioneering effort in our province. The organizers approved sketches but left the creative process entirely to the artists.
The result is a sculpture garden at Hoi Phu Stream Park. This shows that when artists are trusted, art flourishes.
I hope the model continues and spreads to Quy Nhon, which has ample green spaces but still lacks sculptures that reflect its status.
Quy Nhon’s missing piece
* Currently, Quy Nhon has no fine arts museum or sculpture exhibition space. What is your view?
- This is a significant shortcoming. Artworks need permanent spaces to be preserved, exhibited, and connected with the public.
Without them, works only appear temporarily before being forgotten and artists lose motivation.
A professional institution would sustain cultural flow, enrich community aesthetics, and help Quy Nhon integrate into national and international art networks.
Towards a sculpture hub by the sea
*What do you think about organizing an international sculpture camp in Quy Nhon?
- It is both practical and promising. I believe it should begin at the national level to refine organization, assess quality, and establish mechanisms.
Quy Nhon’s coastline, mountains, and evolving urban landscape make it an ideal environment for outdoor sculpture.
To succeed, planners must consult experienced artists and curators, select appropriate sites, and define themes that highlight local identity.
If carried out methodically, a sculpture camp in Quy Nhon could become a creative hub, enhance urban aesthetics, and elevate the city’s cultural image.
Once its reputation is established, international participation will follow naturally, positioning Quy Nhon as a center for outdoor sculpture art in Vietnam and the region.
* Thank you for this conversation.
