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Đỗ Hoàng Tường

Pink Bird, 2025

oil on canvas

100 x 115 cm (39.37 x 45.28 in)

Inv: DHT_2025-001

€15,000

[FR]
Dans Pink Bird, Đỗ Hoàng Tường présente une silhouette tourmentée, presque hybride, qui émerge d’un espace sombre et apparemment infini. Peint dans des nuances ardentes d’ocre, d’ambre et de rose, ce corps déformé exprime à la fois une vulnérabilité physique et une intensité viscérale, tandis qu’un petit oiseau rose, perché sur son dos, instaure un moment de calme fragile. Le contraste entre la lourdeur de la créature et la délicatesse de l’oiseau fait naître une tension entre souffrance et tendresse, contrainte et libération. Ancrée dans l’exploration, chère à Tường, du corps humain blessé, l’œuvre transforme cette figure en une présence troublante et ambiguë, invitant à une réflexion sur le traumatisme, la mémoire et les fragiles perspectives de réparation.

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[EN]
In Pink Bird, Đỗ Hoàng Tường presents a contorted, almost hybrid figure that emerges from a dark, seemingly boundless space. Painted in fiery shades of ochre, amber, and rose, its distorted body conveys both physical vulnerability and visceral intensity, while a small pink bird perched atop its back introduces a moment of fragile stillness. The contrast between the creature’s weight and the bird’s delicate presence evokes a tension between suffering and tenderness, constraint and release. Rooted in Tường’s exploration of the wounded human body, the painting transforms the figure into an unsettling, ambiguous presence, reflecting on trauma, memory, and the fragile possibilities of repair.

About the artist

Đỗ Hoàng Tường

Vietnamese

b. 1960

Đỗ Hoàng Tường (b. 1960, Quang Nam) moved to Saigon in 1970, graduated from the Ho Chi Minh City University of Fine Arts in 1984, and belongs to an influential generation of abstract painters in the South of Vietnam in the 1990s, namely the Group of 10. They are an influential generation of abstract painters in the South of Vietnam who quietly endured, and indelibly affected, by the tumultuous period of conflict between North and South Vietnam (popularly referred as the Vietnam War). Since 2000, he returned to figurative painting, showing the desire for the founding of a new artistic path: to repair the violent loss and destruction of our human condition. Tường’s signature figures are often stretched or contorted in torment, their legs in sexualized pose with bodies in disproportion, as if to provoke a sense of danger and anger. For him, making art helps one depart from the trauma of history.

Select notable exhibitions include S.E.A Focus, Gillman Barracks, Singapore, 2019; Art Expo Malaysia Plus, MATRADE Exhibition and Convention Centre (MECC), Kuala Lumpur, Malaysia, 2018; Ties of History: Art in Southeast Asia, the Metropolitan Museum of Manila, the Yuchengco Museum, and the University of the Philippines Vargas Museum, Manila, Philippines, 2018; ART STAGE Singapore, Marina Bay Sands Expo & Convention Centre, Singapore, 2018; Personal Structures, European Cultural Center and GAA Foundation, Venice, Italy, 2017; Open Door – Fine Arts during the 30 years after Doi Moi, Vietnam Fine Art Museum, Hanoi, Vietnam, 2016; Eagles Fly, Sheep Flock: Biographical Imprints, Artistic Practices in Southeast Asia, Singapore, 2015.

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