Mirage by Pham An Hai

Pham An HaiMIRAGEMIRAGE

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Published 2012 by Thavibu Gallery Co., Ltd.Silom Galleria, Suite 308, Floor 3 919/1 Silom Road, Bangrak, Bangkok 10500, Thailand Tel: 66 (0) 2 266 5454, Fax: 66 (0) 2 266 5455 Email: [email protected] Website: www.thavibu.com

Layout by Pham An Hai Translated by Nguyen Hanh DungEdited by Heide Park Charoenporn

Copyright Thavibu Gallery All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without prior permission in writing from the publisher.

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FOREWORDJørn MiddelborgThavibu Gallery

Thavibu Gallery has the pleasure of presenting the current catalogue and exhibition, MIRAGE, by the Vietnameseartist, Pham An Hai. The exhibition takes place in Bangkok on 15 September – 13 October 2012.

Pham An Hai is one of Southeast Asia’s foremost painters of abstractions. He is also an excellent painter of figurative art and started out as an artist doing expressionistic paintings and moved on towards abstraction. Hisoil on canvas works have developed into larger and bolder canvases over the years, layered and richly textured.

His paintings are inspired by landscapes, cityscapes and nature, but he offers his own personal interpretations ofthese familiar themes. In the current exhibition, Mirage, he focuses on the Lotus because as he says: “The Lotus isbeautiful and full of emotions – it has a delicate, classy beauty and also evokes harmony and is symbolic ofHanoi. I am not describing the Lotus literally in my paintings, but rather through the emotions it evokes in me”.

Pham An Hai is 45 years old and one of Vietnam’s most internationally recognized artists. He holds a Master ofFine Art from the Hanoi Institute of Fine Art and has taken part in international exhibitions all over Asia, and alsoin the USA, UK, Italy, Belgium, Dubai and Australia.

The essay has been written by the Art Historian and Independent Curator, Shireen Naziree.

I take this opportunity to thank Pham An Hai for his collaboration, and Shireen Naziree for her contribution.

MIRAGEShireen Naziree

Pham An Hai is an artist who haslong recognised the changing na-ture of art and the role it can playin raising awareness and socialconscience. Since his early worksin 1998, he has focused on the ef-fects of time and light through hiscityscapes of Hanoi – a city rich inVietnamese and French colonialhistory.

By alluding to Hanoi’s history, hehas created an artistic language that recalls of a time when Hanoi was a tranquil place, yet rich in movements, vi-brant colour and light. Hanoi inspired Pham An Hai to dig deep into his soul and create a successive narrative ofpaintings of a Hanoi he dearly misses.

MIRAGE: Pham An Hai’s latest solo exhibition makes for a timely appraisal of his profoundly eclectic practice.MIRAGE represents an articulation of his dreams and desires, as we see a continuity of subject matter in his sub-tle depictions of Hanoi – which is heightened by a more gestural, layered and painterly sense of composition.True to the idea of “Mirage” with its implied relationship to illusion or vision, Pham An Hai has tied to Hanoi –the legendary Lotus flower. Though MIRAGE represents quite a dramatic shift in his visual language, key iconographic elements remain. There is however, a much freer, more layered palette and a new flourish of boldand detailed marks prefigured by previous works.

Within Pham An Hai’s stated commitment to Hanoi, we are encouraged to draw connections across and withinthe city’s cultural and contemporary history. By embracing the Lotus flower – it singularly offers an invaluablecompass into the history of Vietnam and the cultural psyche of the Vietnamese people. Within the same vein it isalso about the nature of reality, and the consequences of living in a city that is fast developing into a modern me-tropolis. As part of this reality, Pham An Hai has taken the changing vista of Hanoi and likens his desires to therichness of this city with the resilience and beauty of the Lotus flower and indeed the relationship between thetwo.

In other words, Pham An Hai’s oeuvre - multifaceted and morally nuanced, has consistently shown that the mostdirect route to the past and the present, knowledge and ethics is an indirect one that traverses freely across ideas,enabling him to intellectually trespass philosophical and cultural memory as he taps into the richness of his cul-tural history that underpins Hanoi and the legendary Lotus, providing an exciting new context in which to real-ize Hanoi.

The Lotus holds a unique position in the Vietnamese culture. Spiritually, it is the heart of the Vietnamese psycheand features prominently in all aspects of Vietnamese life. And the Lotus has always played a crucial role in thereception of art. Idolized for its intrinsic beauty, but equally important its structure, the formation of petals and itsability to thrive in muddy waters became blueprints in the architecture and construction and thus became a sig-nificant icon throughout the various dynasties.

The One Pillar Pagoda in Hanoi is a historic Pagoda built in the Ly Dynasty by Emperor Ly Thai To in gratitudeto Lord Buddha for the birth of a son in 1094. Built in the Centre of a lotus pond, he had the pagoda designed andconstructed like a lotus. Monumental, its base is a single stone pillar and the wooden pagoda designed to resem-ble an open lotus blossom. An icon that epitomizes the spirit of Hanoi - Pham An Hai has drawn on this culturalsymbolism of the One Pillar Pagoda as inspiration and made it part of the present.

While Pham An Hai assumes an exotic stance of nostalgia into the historical context of Hanoi – his art remains areminder that all around him, the city is slowly being obscured by the shadows of its physical transformation.And, ultimately, it had become an allegory for his own picto-rial transformation of the raw reality as he deals with com-plex questions of Hanoi’s changing identity.

Through MIRAGE, Pham An Hai has brought a new inten-sity to his paintings. Through years of working with thesame subject, his paintings have acquired a palpable poeticconviction. Though he continues to compose beautiful paint-ings, he exemplifies the rule that the best painters are alwaysengaged in a learning process, at which they almost alwaysget better. Pham An Hai has over the years progressed withhis own visions and innovations. Through compositional ele-ments, adept layering, as well as strong complimentary andcontrasting colours, his works produce a strength that provethat painting remains a strong tradition.

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Phan Cam Thuong

On 15 September 2012, Pham An Hai will once again hold his solo exhibition on abstractions at Thavibu Galleryin Bangkok, Thailand.

With abstract art, the artist’s style, emotion, as well as his outlook on social life can hardly be recognized throughhis paintings. What we, art critics, write about are based mainly on intuition, rather than any particular guidelinesor instructions. Abstraction is, perhaps, the ultimate stage of fine art, where figurative presentation makes way forrhythms and colors to express themselves freely.

With Pham An Hai’s forthcoming exhibition, perhaps it would be best to comprehend his thoughts and viewsthrough an interview.

Q: At present, quite a number of Vietnamese artists, especially the younger ones, are eager to reflect contemporary social life more directly in their paintings. What about you? Do you have the same interests in conveying them through your art?

A: Often times, artists are drawn to depict social issues in their works and I am no different. In abstract art, the depiction may not be as straightforward as in expressionist art, pop art, or some other art forms. Through my newseries of works, I want to express a different pattern of life, a desire for a better and more transparent world, asthe current reality we live in seems to me like a mirage, especially the social aspects the Vietnamese people gothrough.

Q: What do you mean by the theme “Mirage”? Is that your vision of the present, on the past, or your disillusion-ment?

A: Mirage is the theme of the exhibition, not the presentation. The Lotus flower is the national flower of Vietnam.It is likened to the Vietnamese people who stand resilient through every adversity thrown their way, and manageto still flourish despite their misery and sorrow.

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Q: It was noticeable in the past that most of yourcompositions resembled urban structures or ges-ture variations in nature. In his new selection ofworks, figurative presentation seems to be re-stored. Would you like to talk a little further aboutthis renewal?

A: To some extent, a figurative approach is ap-plied in the lotus structures, which is used to de-velop the composition and theme of the paintings.

Q: In that case, is it possible that the abstract effectin the paintings can be weakened? And if so, canwe say they are of expressionist - abstract type?

A: In fact, it is my intention to work on an expressionist – abstract theme for this exhibition.I also want to include an Asian presence in my paintings, by means of single colors, single planes and flat pieces.Moreover, I want to eliminate any distance between my paintings and the viewer. I want my works and theviewer to come closer, so they can connect with the paintings without any hindrances.

Q: Drifting away from the topic, what is your opinion on Vietnamese artists’ installation and performance art, aswell as their ambitions to draw connections across art and society recently?

A: Many Vietnamese artists have succeeded in portraying that connection between art and society, but the qualityof the art is not as good as it could be. Many artists take on the art of dance or theatre, while the language of fineart is still not powerful enough.

Vietnamese artists, in general, have been working in a very challenging context, both physically and spiritually.Such is a vivid and fertile land for art creation. Nevertheless, an artist can only hope to focus on one aspect of a reality, and dig deep into his soul to search for answers.

Pham An Hai’s current collection of paintings reflects his painful journey back to the inevitable reality……….a reality, which to Pham An Hai, appears as a mirage or an obsession that cannot be avoided.

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Pham An Hai b.1967 and living in Hanoi Vietnam

Master of Fine ArtsMember of Vietnam Fine Arts Association Member of Hanoi Fine Arts Association

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1992 to 1997,• Group exhibition of Vietnam’s Contemporary painter by Vietnam Fine Arts Association &

Hanoi Fine Arts Association, Vietnam• Young painter of Vietnam Contemporary (group exhibition) by Young painter of Vietnam club

in Hanoi, Vietnam1998• “Coming Spring”(group exhibition) in Hanoi, Vietnam • “Young painter contemporary” of Vietnam in Haiphong,Vietnam• Selected painting exhibition Vietnam- Asean contemporary artists by Philip Morris Company• Group exhibition of Vietnam’s contemporary painters by Vietnam Fine Arts Association 1999• “ View from the Inside” at Nam Son Art Gallery in Hanoi, Vietnam• Group exhibition of Vietnam’s contemporary painters by Vietnam Fine Arts Association• Selected paintings exhibition Vietnam-ASEAN contemporary artists by Philip Morris Company• “Widening our embrace” a Friends Gallery in Hanoi, Vietnam • “Tears for Central Areas” to help the population in central Vietnam by Prudential(U.K) &

Name Son Art Gallery in Hanoi , Vietnam2000• “Structure “ First solo exhibition at Nam Son Art Gallery in Ha noi, Vietnam• “Vietnam Identities” at Sofitel Gallery in Melbourne, Australia• “Hanoi Fine Arts 2000” at AECE in Hanoi, Vietnam• “Vietnam Contemporary Fine Arts 2000” at Deawoo Hotel • “Together with Children” at Friends Gallery to help the Children’s in Central Vietnam by CRS

(USA)& Friends Gallery organization in Hanoi, Vietnam• National Fine Arts exhibition 2000 in Hanoi, Vietnam2001• “Hanoi with Heart and Soul & Mind” at Gallery E in Hong Kong• “The World’s Premier Contemporary Asian Art fair” in Singapore2002• Group exhibition at Rotunda, Exchange Square, in Hong Kong • “ Fresh Wind ” at Gallery E in Hong Kong• “Where the rivers meet” Vietnam Cultural Festival, Luxembourg & Continued in Universite

Libre de Bruxelles, Brussels. Belgium• “ Abstract View” at Nam Son Art Gallery in Hanoi

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2003• “Space Street” Group exhibition at Nam Son Gallery, in Hanoi, Vietnam• “Abstract Oil & Lacquer” at Thavibu Gallery in Bangkok, Thailand 2004• Group exhibition in Singapore 2005• “Vietnam Now” Group exhibition in Seattle, Washington, USA• “ Vietnam Contermporary Art” Group exhibition in Tokyo, Japan • National Fine Arts exhibition 2005 in Hanoi, Vietnam2006• “Together” Group exhibition in Chiangmai, Thailand• “Dragon & Butter fly” Vietnam Festival Culture at Museum Victoriano in Roma, Italy2007• “Inside & Outside” Solo exhibition in Thavibu Bangkok, Thailand• “Sosabeol International Art Expo” Festival Culture at Sosabeol, Korea2008• “Merging the Best of East and West” Group exhibition in London, UK2009• “The Flow of time” solo exhibition in Thavibu Gallery Bangkok, Thailand2010• “The Art of T” Group exhibiton in Mandarin, Hongkong• “In focus” Solo exhibition in The Red gallery in Dubai, UAE.2012• “Mirage” solo exhibition in Thavibu Gallery Bangkok, Thailand

Collections by Museum • Vietnam Fine Art Museum (2007, 2010)• Petronas National Art Gallery of Malaysia Museum (2006)

Award: Honors Certificate by Philip Morris Company in Asean Fine Arts Awards Exhibition in : 1998,1999, 2000Honors Certificate by Ministry of Culture & Information in Vietnam National Fine Arts Exhibition 2000Honors Certificate by Vietnam Association Fine Arts in 2003, 2004Third Price of Vietnam Association Fine Arts in 2004Honors Certificate by Vietnam Na tional Fine Arts Museum 2007, 2010

1. Lotus #1 Oil on canvas size 50x50cm 2012 p.92. Lotus #2 Oil on canvas size 50x50cm 2012 p.10(up)3. Lotus #3 Oil on canvas size 50x50cm 2012 p.10 4. Lotus #4 Oil on canvas size 50x50cm 2012 p.11 5. Lotus and Woman Oil on canvas size 100x100cm 2012 p.12

6. Lotus Oil on canvas size 100x100cm 2012 p.137. Mirage #1 Oil on canvas size 50x50cm 2012 p.14 (up) 8. Mirage #2 Oil on canvas size 50x60cm 2012 p.14 9. Blue Mist Acrylis on canvas size 100x100cm 2011 p.1510. Mirage #3 Oil on canvas size 50x50cm 2012 p.16

11. Lotus #1 Oil on canvas size 80x125cm 2012 p.1712. Lotus #2 Oil on canvas size 80x125cm 2012 p.1813. Lotus #3 Oil on canvas size 80x125cm 2012 p.1914. Lotus #4 Oil on canvas size 80x125cm 2012 p.2015. Lotus #5 Oil on canvas size 80x125cm 2012 p.21

16. Lotus #6 Oil on canvas size 80x125cm 2012 p.2217. Mirage of Autumn Oil on canvas size 100x160cm 2012 p.2318. Lotus Pond Acrylis on canvas size 100x160cm 2012 p.24,2519. Night in the City Oil on canvas size 80x125cm 2012 p.2620. Mirage Oil on canvas size 80x125cm 2012 p.27

21. White Mirage Acrylis on canvas size 100x200cm 2012 p.2822. Yellow Autumn Acrylis on canvas size 100x200cm 2012 p.2923. Summer Oil on canvas size 150x300cm 2011 p.30,3124. In side Out side Acrylis on canvas size 100x100cm 2011 p.3225. Under Warter Lacquer on wood size 100x100cm 2009 p.3326. Spring Rain Oil on canvas size 120x200cm 2011 p.34,3527. Melody of the Street Oil on canvas size 100x200cm 2011 p.36,3728. After the Rain Oil on canvas size 150x150cm 2011 p.3829.Song of Spring Oil on canvas size 150x150cm 2011 p.3930.White Lotus Oil on canvas size 200x400cm 2012 p.40,41