ARTIST STATEMENT
My work explores the concept of cultural identity, integration, and displacement. My studio practice is influenced by Vietnamese cultural heritage and background in fashion design. I use silk, a cultural-rich material, as a metaphor for my personal identity.
Silk has an important role in Vietnamese culture as well as the traditional art. After I’ve moved to the U.S, my research has shifted from traditional silk painting techniques to deconstruction and reconstruction of the textile itself. I used the material as a medium to paint and build a new structure for each installation. It's a repeated process of destroying and recreating. Cutting, tearing, beating, sanding. Sewing, weaving, attaching, layering. Silk has become the connector that ties both cultures together.
My Silk Piece installations were constructed in the way garments would be made. I sculpted them based on an imaginary body. Each fold and drape was secured temporarily with a push pin and constantly changed during the installation process. The forms are not permanent. When I reinstall the piece in a new space this process will be repeated but the result will never turn out the same. The transformation of silk from a delicate to sculptural material was reminiscent of my identity transformation. I see silk as my second skin, borrowing it to reconstruct my own self and recapturing memories.
SELECTED SERIES STATEMENTS
Infinite Thread
Infinite Thread is a body of work that weaves together personal history, cultural heritage, and the complexity of navigating dual identities. At its core is silk—a material that serves not only as my chosen medium but also as a powerful metaphor for the invisible threads connecting East and West, past and present, tradition and transformation. Silk has a long, storied history in Vietnamese culture. Known as lụa, it has been cultivated in Vietnam for over 2,000 years. Traditionally woven by hand and dyed using natural pigments, Vietnamese silk was historically worn by emperors, scholars, and spiritual figures. It symbolized refinement, status, and a deep connection to nature and ancestral craftsmanship. Passed down through gene-rations, silk also carries spiritual weight—used in offerings, ritual garments, and to honor the sacred in everyday life. As a Vietnamese-born, American-trained artist, I draw upon this cultural lineage while recontextualizing silk within a contemporary, diasporic framework. By deconstructing the silk, layering it, and reshaping it through abstraction, I investigate how cultural materials can evolve across borders. The act of mani-pulation becomes a form of trans-lation—of language, of memory, of belonging. Infinite Thread reflects my own journey: from working in a nail salon in the U.S. without knowing English, to embracing the visual language of painting and installation. The silk threads I use are fragile, yet they hold the weight of history and migration. They speak to resilience, silence, and the beauty found in liminality. This series is an offering to both my ancestors and my future self—an exploration of how identity is not fixed, but continually woven, pulled, and restitched. Through silk, I honor my Vietnamese roots while creating space for new meanings to emerge in the American context
Echo
In Echo series, I respond to the topographical landscapes of my homeland in Vietnam, where the land holds my childhood memories and family history. These works emerge from my experience of hearing the sounds of a familiar environment that has become, over time and distance, both recognizable and strangely unfamiliar. I build the surfaces with multilayered sheets of hand-cut silk that act as sound absorbents, softening and holding echoes within the work. I merge influences from the past and inherited stories with my present perspective. Echo becomes a way for me to respond to the idea of homeland, responding to what remains, what has changed, and what continues to resonate.
Infinity
The Infinity Series draws inspiration from the silkworm—an unassuming creature whose silent labor yields one of the most revered materials in human history: silk. In observing the silkworm’s instinctual act of spinning, I was captivated by the figure-eight motion it performs within its cocoon—an organic infinity shape that speaks to cycles of creation, transformation, and continuity. This figure 8 motion also applied to the process of paint pouring and the silk strip patterned on the canvas. This infinite movement became both a visual and conceptual foundation for the work. In this series, I borrow the gesture of the silkworm and translate it into layered, woven-like sculptural paintings. Using silk fiber as my primary medium, I build organic forms that feel suspended between painting and sculpture. The surface becomes a field of quiet tension—delicate yet resilient, meditative yet dynamic. Silk, historically a symbol of elegance and tradition, takes on new life in my hands. It becomes a language through which I explore the dualities of my Vietnamese-American identity: softness and strength, East and West, nature and artifice. Just as the silkworm instinctively constructs its protective cocoon, I use silk to construct space—both physical and symbolic—where identity can be fluid and evolving. The Infinity Series is not only about the material itself but the gesture behind it. It reflects on labor that is both invisible and essential, on motion that is quiet but never ending. These works are meditations on process, on the unseen forces that shape us, and on the continuous act of becoming.
Homeland
In Homeland, I navigate the complexities of diaspora and belonging, using art as a bridge across the temporal and cultural distances between past and present. This series marks a turning point in my practice—an expanded exploration of scale, while also delving into the layered terrain of memory. The earliest works in the series began with color as a catalyst for remembrance. I recall how the colors of Vietnam’s landscapes—lush greens, deep earth tones, vibrant ochres, and the hazy blues of humid skies—evoke his most vivid memories of home. These hues become more than pigments; they are vessels of nostalgia, conduits of cultural memory, and markers of identity. My process merges traditional and contemporary elements, mirroring the rapid globalization and cultural shifts I witnessed in Vietnam. Layered pigments, embossed motifs, and textured imprints give each work a sense of time etched into its surface—echoes of a homeland that is both changing and enduring. My paintings, mixed media works, and installations open a dialogue between continuity and transformation, asking viewers to consider how place and memory evolve alongside us.
Encounter
The Encounter series emerged after Kenny Nguyen’s first trip back to Vietnam in over thirteen years. What he found was both familiar and unfamiliar—a homeland that carried echoes of memory but revealed itself in new, shifting forms. This dissonance became the heart of the work: the unsettling realization that one cannot return to the same place unchanged. In these pieces, movement defines the compositions. Patterns suggest order yet dissolve into gestures of chaos, embodying the experience of feeling like an outsider in one’s own country. The works pulse with vibrant, saturated color—bolder and more restless than Nguyen’s previous series—capturing the intensity of both recognition and estrangement. Color itself becomes an emotional language. Shades of khói lam chiều (the soft bluish-gray of twilight smoke) evoke a melancholic distance, while layers of xanh xanh (a shifting, uncertain green) embody separation and estrangement. These hues are not decorative, but symbolic—marking the tension between memory and present reality, between longing and dislocation. Nguyen reflects on the act of re-engagement—encountering the unfamiliar within the familiar. In doing so, he finds new ways to connect with his roots while embracing the inevitability of change. As he explains, “Through embracing change, we can forge a deeper connection with our roots and ultimately find a renewed sense of self in an ever-changing world.”
Eruption
In the Eruption series, I move away from the calm harmony of my earlier works to embrace chaos, tension, and unpredictability—echoing the emotional turbulence of cultural identity and displacement. Each work begins with precisely sized silk strips that are soaked in acrylic paint, then layered to form wave-like structures that create an interwoven, helical movement. I shape the physical mounting structure to support the undulating forms, allowing the surface to pulse and shift between order and disorder. Through this process, the material transforms into rhythmic, almost pixelated fields of color that feel alive. The palette in Eruption is energetic and instinctive. Colors collide rather than blend, creating moments of friction and intensity that mirror the “push and pull” of navigating between two cultures. By treating silk—a material often associated with softness and delicacy—as both textile and sculptural form, I aim to challenge perceptions of fragility and control. The resulting works vibrate with movement and tension, much like sound waves or emotional frequencies. At its core, Eruption reflects the raw, transformative process of identity in motion—a visual record of conflict, resilience, and renewal.
White Noise
In White Noise, Kenny Nguyen draws from his memories of vintage war photographs and documentaries—an ever-present backdrop of his childhood. These images, grainy and monochromatic, became part of the atmosphere of growing up Vietnamese-American: always there, often unspoken, yet impossible to ignore. The works are composed of cut silk strips arranged in pixelated, overlapping layers of grey. Their textured surfaces resemble the static of an old television screen, a visual metaphor for the fragmented and unresolved presence of war in cultural memory. The subtle black-and-white undertones speak not only to Nguyen’s personal recollections but also to the shared histories carried within the Vietnamese diaspora. For Nguyen, the war lingers like white noise: distant but constant, fading into the background yet resurfacing in unexpected ways. Through this series, he reflects on how the act of looking back becomes essential for moving forward—acknowledging the persis-tence of history while seeking renewal beyond it.
Deconstructed
The Deconstructed series continues my exploration of transformation—both in material and meaning. Drawing strongly from my background and fascination with fashion design, these works dissect and reconstruct silk, thread, and textile elements to question where painting ends and sculpture begins. Each work evolves through a process that mirrors garment construction and deconstruction. Sometimes the canvas is cut and shaped before any paint is applied; other times, a completed painting is physically cut apart and silhouetted, allowing its form to take on new dimensionality. Through these gestures, the destructive act of cutting becomes a method of creation and reinterpretation. The process of draping and folding transforms silk and fabric into sculptural surfaces, bridging the worlds of fashion and fine art. The material once meant to move with the body now stands as its own form—expressing tension, vulnerability. Deconstructed reflects my ongoing dialogue between craft and concept, questioning how identity, labor, and beauty can coexist and evolve when the familiar is taken apart and reassembled anew.