Despite being three distinct elements with their own texture, depth, and presence, lacquer, paper, and earth are all rooted in nature. Rather than searching for hidden meanings, Lý Trực Sơn’s solo exhibition at Vin Gallery invites us to engage with the works instinctively and experience the interplay of pigments, natural elements, and form, shaped by the artist’s innovative process and the passage of time.
Lý Trực Sơn’s latest solo exhibition at Vin Gallery, “Lacquer - Paper - Earth,” offers a glimpse into the artist’s decades-long commitment and exploration of materials and forms. This marks his first solo exhibition in Saigon, comprising works on dó paper created since the 1990s, lacquer pieces from 2014, and the most recent Earth series in the 2020s until the present. The exhibition title is straightforward, reflecting the core materials of his artistic practices, rather than implying any hidden meanings. More than a presentation of finished works, the exhibition stands as a testament to his constant dedication and experimentation with pigments and different materials, each layer revealing the depth of his creative process and artistic refinement.
Installation view of “Lacquer - Paper - Earth” at Vin Gallery.
Originally trained in a traditional academic setting at Vietnam College of Fine Arts (now Vietnam University of Fine Arts), Lý Trực Sơn’s artistic journey took a transformative turn during his studies in France and Germany (1989–1998). His time abroad was a long journey, a relentless pursuit of modernity and self-exploration toward the path of his own distinctive artistic language. Upon his return to Vietnam in 1998, he spent the next decade working with lacquer and dó paper, holding multiple exhibitions. Abstraction was not his initial focus; however, it emerged gradually while he was experimenting with natural pigments and mixed media, pushing the boundaries of traditional materials and forms.
Upon entering the gallery, we are immediately drawn to the Earth series: mural-like abstract paintings, with earthy tones and rough, uneven surfaces. The artist created these distinct textures by gathering natural materials like soil and stones from the hills and mountains, along with scallop shells and vegetables. He grinds them, mixes them with an adhesive, and layers the dried mixture onto the canvas. Through this process, the textures and forms emerge naturally, evoking a raw presence that reflects their deep connection with nature.
The artist’s abstract lacquer series, created in 2014, marks a departure from tradition in both composition and color. Moving away from traditional motifs and the customary red and gold palette of Vietnamese lacquer art, Lý Trực Sơn instead embraces black and blue as his dominant tones, while incorporating softened eggshell inlays to create delicate white details. Although the works may contain hidden messages that require full interpretation, they evoke a profound sense of vastness — one that subtly recalls the universe and our origins, where humans, nature and the unknown co-exist within the infinite expanse.
Left: Harmonized blue series #3. Lacquer. 120 x 80cm.
Right: Harmonized blue series #2. Lacquer. 120 x 90cm.
Dó paper, a traditional Vietnamese material, has been central to Lý Trực Sơn’s practice for decades, even before his years abroad. The essence of his presented works lies in his use of natural pigments and a unique gradual dyeing technique, creating delicate, layered spaces that shift between translucency and density. His approach embraces the traditional qualities of dó paper with minimal lines and forms, allowing natural pigments to create subtle tonal variations. When viewed up close, soft flows and gradients of color emerge, weaving through the layers of paper and evoking a dreamlike, almost meditative effect.
The balance between materials in this exhibition — lacquer, dó paper, and earth — reflects Lý Trực Sơn’s deep engagement with time, space, and human touch that shapes the transformation of materials through his works. Each material carries its own essence, yet they are all interconnected. His self-made pigments, infused with evolving organic elements, emphasize this connection. Through his work, he invites us into the vastness of nature and the diversity of the world we inhabit, a space where materials, forms, and human emotions subtly intertwine, engaging the viewer in a quiet yet evocative dialogue.
“The path to finding ‘the uniqueness’ is the most difficult one in the journey of creating abstract art. Whereas making something beautiful is actually quite simple, it’s pretty easy because that understanding is about structure and technique — you can learn. But for a good painter to become an artist, they must be able to do things that cannot be ‘learned.’ At the same time, what that person is able to do, no one else can be taught. Only then are you truly unique,” Lý Trực Sơn shared in an interview with Vin Gallery.
Màu ngọc, 2024. Mixed media. 140cm x 110cm.
To view Lý Trực Sơn’s works, one should not attempt to overanalyze, decode, or search for any hidden meanings. Instead, his art invites us into the meditative “voidness” within the earthy color fields, the layered translucency of dó paper, and the deep, glossy surfaces of black and blue lacquer. It is not solely about the message the artist conveys but rather about how he navigates through different materials — earth, lacquer and paper — each carrying its own weight of time, transformation, and presence. By engaging with his abstract art instinctively, we connect through feeling rather than analysis, allowing the works, like living entities, to speak for themselves.
[Images courtesy of Vin Gallery.]
“Lacquer – Paper – Earth” by Lý Trực Sơn is now on view at Vin Gallery until April 1, 2025. More exhibition info can be found on the Facebook page.
