Core Idea: nostalgia and memories of childhood fading into oblivion
Medium: pixel art
Outcome: a series of intimate spaces from my childhood, made by pixel art
Year: 2023
Time spent: 150+ days

Nostalgia and memory is a slippery thing, and this was my shot at solidifying and archiving the bittersweetness of remembering and dwelling on what once was… through an expanding pixel art series of intimate spaces.

My grandmother’s house, from the inside
My grandmother’s house, from the outside

My first rented apartment in university, in Saigon.


My first childhood home in Hanoi’s city center.

My second childhood home in Hanoi’s city center.



The iMac computer lab at my uni, where I call my second home.




Where I felt the most pain in my life.





I chose pixel art, for it’s ability to strip off subject matters down to mere colored squares, leaving behind only the subjects’ core essence. I’m a 00s’ kid too, so computer graphics grew up with me.

Gathering material and staying true to the Past was my core mission - and each scene required  dumpster diving and asking for old photos from family and relatives. My sourcing had to be as detailed as possible, so I could maintain that precise realism while also staying true to the memories. Many times I needed to stop everything just to find a certain photo of an object, and not all searches were successful. I could not allow myself to be deceitful. Some of the scenes are actually, much less detailed from the lack of accurate reference.

All of the found reference, from personal and online sources

I needed to etch out these spaces on paper first, as the final POVs are kind of ‘locked’, like an architectural plan.
Same goes for the tiny bitty objects that populated the scenes.




I have a much longer list of potential spaces, going as far as my first house in childhood to the first nightclub I’ve been to. That’s the beauty I intend this project to have, acting almost like a (personal) time capsule. I don’t know what exactly makes a space worthy of being in the roster, but I know they all left a major imprint on me.



a speedpaint video to demonstrate my painting process


an ambient demo, adding original sound design and minimal animations to increase immersion.


A lighting test, going for atmosphere here.

Through the recreation of these long-gone spaces, I hope that these cutesy itty bitty pixels encapsulated my childhood spaces, ones that I hold dear and close. 
The project is a wholehearted invitation inside these worlds.
These homes, offices, roads,... all are and were filled to the brim and teeming with not just personal items, 
but also memories, emotions, the energies and spirits of its inhabitants.
This could seem negative and sadness-inducing, but that’s not everything about this project.
Nostalgia can be heart-warming and joy-inducing, just as sadness can be enlivening.

For me and my own past, each time that I moved houses felt like severing a limb and changing it,
for a better, bigger, newer limb. But the thing is, I don't always want my better, bigger, more modern limbs.
I want my old limbs back and along with them the feelings and cherished memories.
I realized this was an in-dwelling desire to reconnect with my past and my roots.
I realized my memories have become in a way not the same, damaged,
and barely representing these past relics.
But as I’ve said stated before - my only wish was and still is to keep externalizing
my inner memories, and in this mortal lifetime, immortalize these withering memories.



Medium:
pixel art + foam + print
Outcome: real-life pixel sets and objects
Year: 2023
Time spent: 90 days

Green Parks & Yellow Lights got a chance to step into the real world, after L’OFFICIEL Vietnam (a global fashion magazine) reached out to me, with a proposal to do a photoshoot where my pixel art would be shot together with a few luxury fashion products.



The official selected photos.





The assets I’ve created, in the digital space.

I was commissioned to create life-sized objects. I had to decide the physical dimensions of these things, test printed them out to get a feel for the scale, and then made 3D cubes out of glueing said foam pieces together. A huge degree of precision and pre-planning was required, as to minimize the production costs and time. That’s for the objects, but for the sets, I had to digitally plan out which objects or layers would occupy the foreground and background. Very fascinating to tinker with spatial awareness that created my original works and now calculating and speculating their real-life arrangements.

Behind the scenes of the photoshoot.



My work in the actual magazine issue.


I made these objects with love and attention, cutting the foam as close to the pixel art printed on it as I humanly could.
I got emotional seeing what I drew on a screen step out into real life as objects.
I also had quite the fun tinkering with that transition, and even more fun re-imagining iconic objects in pixel art,
like vases or teapots and cups (my personal favorite was the chiếu cói - Vietnamese sitting mat)

i'm just baffled that Green Parks & Yellow Lights got a chance to grow and evolve, and specifically step outside into the digital world.
This process provided me with a novel sense of appreciation for my own artworks, and just how far it has come from just an urge to draw my past to one day making them physical.

========
Production Credits:

Pixel Art: by yours truly
Photographer: Monkey Minh
Set Design: Vu Nhat Dang Khoa
Assistant: Duy Đặng, Kevin Lc
Retouch: Trinh Trần
> next: “Bọ” - experimental performance                                                              

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an experimental performance - an existential questioning of the soul, life and death, and the sacred.



Core Idea: a play, adapted from a series of visual and written works by art
Medium:  physical performance
Outcome: a 30-minute performance
Year: 2024
Time spent: 3 weeks




about the original author’s work:

“Bug” is part of the series “And they will take roots wherever the soil goes,” which contemplates the idea that “We take birth from the soil.” “Bug” consists of two phases: phase 1, which centers on writing practices and visual works (2024), and phase 2, which evolves the previous writing practices into a play (2025).

“Bug” encapsulates the artist’s personal convictions regarding the interplay between the soul, life, and death, as well as a discourse with the sacred. Within the dialogue, the two characters embody the constraints associated with responsibility and the perpetual cycle of “birth.” In this scenario, God is viewed as equal to Bug, with neither incarnation being superior to the other.
~~~~~~~~~~~~~~

“Bọ” (”Bug”) was my first show/performance as a dancer and movement practitioner, for @projectdaysan‘s Dựng program.
we created an adaptation of Rab’s @rabtheanimal work - “Bug”. “Bug” is a poem and visual work series that “encapsulates the artist’s personal convictions regarding the interplay between the soul, life, and death, as well as a discourse with the sacred.”
without spoiling too much of the 30-minute-ish performance, there’s a God and a Bug in this world, and I was a part of that sublime journey/ritual where these seemingly disproportionate “roles” were subversed, tinkered, played around with.

during the 3 weeks of practice and experimenting, i/we felt the creative freedom to do whatever we felt was fitting, and felt the wholehearted support from my fellow performers to the directors and producers/facilitators, and everyone in the audience. Absolutely honored to have been invited by @surrealexpressionism and to perform alongside such veterans @uthaopia @akechi0112xt @benzism__



~~~~~~~~~~~~~~
EVERYTHING STILL FEELS SURREAL. I WAS EITHER BOWING OR PUTTING MY FACE AND FOREHEAD TO THE FLOOR. THUS I HAVE BUT A CLUE ON HOW I/WE LOOK. PRACTICE WAS SO DIFFERENT. WHY WAS THE LIGHTING ON SHOWDAY SO GOOD AND ATMOSPHERIC??! WHY DID BEING SEEN BY SO MANY PEOPLE WHO ARE THERE WITH THE INTENTION TO SPECTATE A PERFORMANCE not scary at all? I/WE WERE SQUIGGLING-TWITCHING-PULSATING ON THE FLOOR and they’re not asking what i’m on and they’re there to support/discuss/wonder what i/we do??

contemplating my self-taught-ness in the mediums I choose and how I feel inadequate and uneducated and most of the time an utter amateur. but after performing, i wish to believe that there is more joy and satisfaction to be found just by being curious and true to my nature in the way i practice these disciplines. and it brought me all these amazing people and communities and opportunities…? i wouldn’t have made it here if not for the hours i put in! 
I guess..I just need to keep practicing,
keep experimenting.
to keep going, keep being me
unapologetically. unabashedly.

 

> next: “currents” - a short story                                                                 

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a short story about my tumultous inner emotions


Core Idea: a story with just 1 digital sculpture in different lightings/angles
Medium:  3D + written word
Outcome: 10 panels
Year: 2024
Time spent: an evening




I went over to my best friend’s place and played with their iPad, specifically with the 3D software Nomad. 
I played with sculpting and ended up with this alien-totem-skeletal creature.
I tinkered further with lightings and angles as I sculpted more and more.

After feeling fatigued and seeing that there was not much more to add, I wrote a short poem to befriend the sculpture.
I had been feeling quite in-my-head-spiraling-ruminating-and-wrestling, hence the raw and self-encouraging verses. 

This artwork is quicker than most of my usual artworks. I was curious to try a different pacing, one that emphasized fleshing out the core feeling more than executing and over-fixating on the “finished-ness” of an artwork.

I had soooo much fun coming back to 3D after more than a year away from it. The iPad and Apple Pen’s intuitive mechanical experience was really pleasurable to work in, compared to my usual mouse & keyboard interface.
 

> next: “Silence” - hand-drawn cyber animation                                                                     

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breathing life into a static artwork


Core Idea: hand-animating a static artwork in real-life to describe how it grew
Medium:  Motion graphics
Outcome: a hand-drawn animation
Year: 2024
Time spent: 3 weeks



finding words to describe Silence
...— -.... -—.
original hand animation + ambience

a reverse-engineering attempt to rewind my static artwork, where i practiced drawing with symmetry
inevitably i failed. i am only human.
i animated off of feeling
longing to describe how they grew and what i saw

i saw shapes, lines and the transitions between them.
and beyond the shapes and their compositions….

who are the big bedrock world-building bois
who are the ornamental offspring that followed along
do they grow slowly across spaces
or rush to get to their destination
do they move like a flower blooming
or more like a computer

where do they start and end,
what they gave birth to or left behind
do they care for noone else or do they guide others
waiting for the others to catch up for themselves to keep going

i keep seeing eyes and faces
eye sockets cheekbones nose bridges chins
if only i could coax my own skin
away from this face,
away from this reality
(i think) this is what i’d see


Close-ups (linework version + post-processed version)















how it works - a simple cover-up process, then reversed to create the ‘correct’ flow of the drawing.
The faint under-markings of many colors were to help me manage specific relationships between certain lines.  (i.e Green is for big mainframe lines, and Blue for lines that move together, and Orange for special lines, etc.)



> next: “my heart yearns for gaia’s embrace” - photo series                                                                           

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a photo series exploring my view on humanity’s relationship with Nature



Core Idea: spectating how Nature finds a way to still haunt our urban lives, a constant ubiquitous and ghastly reminder of our origins.
Medium: photography
Outcome: 28 photos with a story woven into them
Year: 2023
Time spent: 1.5 months


Since when were we humans, above Nature
Since when were we humans, above our own mother
Since when were we humans, superior to our creator?
Our DNA prevailed in the game of evolution
We’re here, today, thanks to every generation that came before

Since when did we revere pieces of green paper
Since when did we decide it was best to be a hedonistic consumer
Build a career, get a house, get a spouse.
Oblivious to what’s always been around.

How nature has been almost forgotten, obscured in our day-to-day
Being born in the city, in the concrete jungle is a weird and almost unnatural experience.
This was my attempt to reconnect with Nature, albeit in an urban context.
This was that yearning, that indwelling longing to find my roots again.

It was a dissonant feeling of suffocation
Of seeing metal and plastic surrounding my field of view.
Of how sad it is that I’ve grown so accustomed to and familiar with man-made things
Of a bottle of coke, of a car, of a billboard sign, of a plastic home appliances.
I don’t know how to feel about it actually.
I don’t exactly despise human things.
I just want to find an answer for myself.
Question my field of view of the world around me.
Toy around and entertain different spectrums of thought.

I had no final destination in mind but I had an inner guiding compass.
I started with the green, or more specifically, finding green everywhere I go.
Spectating how Nature finds a way to still haunt our urban lives, a constant ubiquitous ghostly reminder of our origins.


=====================================
Below is the entire series, un-annotated, followed below by detailed annotations.


=====================================
↓ The entire series, annotated ↓


Bland. Disconnected. This photo is the opener to the whole series.
I wanted to start from a place of lifelessness.
A construction fence a lamp post on top,
against the city’s night sky.
Desolation. Loneliness. Melancholy.
This is what urban life feels like to me.
Artificial.
Here’s a couch, representing how we’ve been SO comfortable in this artificial way of life.
We’re introduced to vegetation now, but they’re barely there. Washed out from the smog and dust of urban cities.
The couch, for me, also meant Reflection. This series is, after all,
an investigation on the relationship between my
Humanness and Nature.


As I ‘sat’ down on that couch, I looked around,
and became even more dissatisfied with what I saw.
I saw colors,
but they were nothing more
than chemically-induced elements.
Neon lights, headlights from passing traffic and screens.
I’m just sick of it at this point.
Something is surging up my larynx.
Sick of the phoniness of it all.
How have I been so blind to this all this time?
I’m born into it, so why am I feeling a pull on my heart strings.
Again, the trees and plants are there, but hardly blossoming or filled with life. They’re merely ornamentative in this context.
Patchwork, quick-fixes to include at least some element of Nature.



Funny how we’re so unfamiliar with darkness when it’s nighttime.
Because we got light bulbs everywhere.
Here I further juxtaposed Nature in an urban setting,
suggesting a subliminal parallel between
the Sun >< Lightbulb; a Tree >< a lamp post.



Life finds a way. Life force is ever-present in the veins of reality.
I love the image of tree roots bursting through hard concrete sidewalks.
It’s ‘concrete’ proof that there are things we should not try to surpress.
Life is fluid, ever-changing and untameable.
An unstoppable motherly energetic presence.



Here, we transition more onto what mankind currently place Nature at.
Landfills, dumps, piles of scrap. We’ve made mountains out of them.
How ironic, that we leveled out majestic mountains and hills.
only to build back-up worse versions of them.
I wanted to strike that feeling of our irresponsibility and carelessness
regarding our impact on the natural environment.


“When did Nature ever become the background, a thing to be
considered in hindsight, and not first and foremost?”
This question was on loop in my mind. I’m just pissed and baffled at it.



“When did Nature become something ‘dirty’, something of a luxury to have?”
Commodified? Neglected?



We’ve done horrid things to Gaia, We’ve tainted something.


Here is where we witness Nature start to take over.
A series of photos displaying this overgrown, abandoned, almost peaceful serenity.
These machines I found were discarded, left for dead.
Nature took it into its loving arms.
Is that thing still man-made or is now Natural?


A slight poke at capitalism and the modern lifestyle.
Is Nature  priceless? We seem to have put a price tag on it haha.
Like that saying... when the trees die out and the lands dry up, can we eat money?


Powerful machines capable of terraforming the Earth - again, left to rot.
I toyed with the contrast here.
Hard steel and metal vs. soft, lushful greenery.
The beast is asleep, possibly indefinitely. 
Decommissioned.
Are you scared of it still?




We’re sinners to Mother Earth, yes, but Mother is gentle and forgiving,
just like this flower that bloomed right by the jaws of that disarmed beast.
Forgiveness, that’s what this photo meant to me.




So, what do we do now?
How can I both reconnect with Mother and live as a city dweller?
How do I reconcile and amend this situation?
I intentionally used the orange-yellow,
almost piss-colored lighting at night to suggest/foreshadow
a fusion of Man and Nature.



The fusion is painful, visceral to a sense.
Molten.
Climactic.



A deafening silence, as the fusion is complete.
The man-made things are here still.
So is Nature.




Gaia is benevolent and forgiving, and she welcomes us back on the
journey to find our roots.




All this time spent in my head looking out.
Feeling like an observer of this bigger picture.
Now, on behalf Nature and Man, the picture’s looking back at me.

> next: ‘Dấu Chấm Tròn Xanh’ - music video animation                                                                                
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