Detailed Bio
“War explodes in a sedate living room, just as it does on our televisions........ it is frighteningly graphic without actually depicting violence, and it is not simplistic like a protest chant. Ambiguities in the painting acknowledge that while the situation it depicts is terrible, it is also terribly complex”.
Above quote: Timothy Morrell former curator of Contemporary Australian Art at the Queensland Art Gallery, said this about Van’s Painting 100 000 to 400 000, in 2007.
Born
Van was born in Nambour on QLD’s Sunshine Coast in 1973. His mother was arguably the only Vietnamese person in that town at the time of his birth. His Australian father was a soldier in the American war in Vietnam. Vietnam was where his parents met. Themes surrounding this war would later greatly influence Van’s artwork.
Van lived in Nambour for 18 years. He began painting and drawing enthusiastically since he won 1st prize in Nambour’s Sugar Festival Art Competition in 1982.
When he wasn’t making art, Van was fully engaged in playing music, surfing, martial arts and soccer.
Throughout these years, Van became more conscious of the inherent racism that existed in Nambour and continues to exist in Australia today – confirmation as to why his mother (and himself on occasions) were treated like an alien by many locals in Nambour. This was also to influence his later works.
Brisbane – Rock Pop Bands - Landscape Painting
In 1990, Van moved to Brisbane to complete a BA Degree in Politics and Media Production. Outside of this course, Van took painting seriously and was creating many open air, landscape works from the backyard of his rented property in Albion, Brisbane. He also joined a band called Cheezlekane as a drummer and began gigging Brisbane’s venues. During these years, he got to know other bands including Powderfinger members John Coghill and Bernard Fanning. He’d already known John from Nambour High School and via karate classes in Nambour in the late 80s. In 1995 Cheezlekane moved to Melbourne, and in 1998, the band came very close to signing a record deal with major U.S label (at the time) Universal (representing Nirvana and Weezer among many others).
Unfortunately, as Van remembers, it was his drumming (among other things) that Universal’s PR man didn’t like, so the label lost interest. This didn’t stop Van from continuing to gig consistently in Melbourne with Cheezlekane and also other bands Seconds, Stalis Vetch and Granma. Getting to meet, reside with, and play with many great musicians will always be cherished according to Van. He decided to give music a rest in 2008.
Melbourne since 1995 – More Music and Rogue Art Exhibitions
During the time Van was gigging around Melbourne’s major band venues, he was deeply involved in painting and exploring his Australian / Vietnamese identity through visual art. He had his first group exhibition in 1996 with members of Fitzroy’s Roar Studios. At this stage politics hadn’t really entered his art. He was producing many figurative-based drawings and paintings.
During the time Van was gigging around Melbourne’s major band venues, he was deeply involved in painting and exploring his Australian / Vietnamese identity through visual art. He had his first group exhibition in 1996 with members of Fitzroy’s Roar Studios. At this stage politics hadn’t really entered his art. He was producing many figurative-based drawings and paintings.
He then undertook a BA in Painting at RMIT, Melbourne in 1999. But it wasn’t until 2003 and 2004 that Van began to actively engage in politically charged art making. It was at this stage he created The Carriers Project where it made sense to carry his paintings on foot through Melbourne’s city streets. He wanted large numbers of people to see his newer, larger paintings – paintings that to him showed an ‘explosive’ change in his artistic direction. He was beginning to show a much more open consciousness as to the realities of living in Australia and within a much more interconnected globe.
Highlights of this project include standing outside the 2004 Melbourne Art Fair and the NGV (Federation Square) with his painting Australia Sleep No More (2003-4). Another was walking around Melbourne’s CBD with The Australian Scream (2006) in support of the Black GST and Stolenwealth Games movements by Australian Indigenous groups in 2006. He can testify that security during the 2006 Commonwealth Games was strident in their approach to screen any ‘distasteful’ public intrusions.
Other highlights include attempting to walk into Picasso’s exhibition at the NGV in 2006 with his large painting Portrait of an Exploding Terrorist (2006). There were also many other highlights including a national tour of The Carriers Project (through touring company Kultour, funded by the Australia Council) that saw him threatened with public nuisance arrest by Qld Police after carrying the above painting through Brisbane’s Queen St Mall.
The Social and Political
Social and political issues such as worldwide Indigenous rights and the struggle of all 3rd World nations against Imperial aggression increasingly became themes in Van’s art practice. In 2005 he undertook an investigative trip with his Chilean partner Tania to Cuba, Vietnam, France and Chile to look at the importance of culture within revolutionary change. Van realized now that this type of investigation was crucial for his development as an artist – a natural response to an ongoing investigation into his heritage that was born out of one of the most devastating wars in 20th century history.
Censorship
To Van, it is not suprising that a number of his artworks have been censored by various authorities. He believes it’s a good sign – a sign that various issues need to be discussed in Australia and around the world. He has been a long time advocate for freedom of expression. He has also keenly contributed his censorship stories along with a number of Australian artists to the 2009 NAVA publication “Censorship Guide”.
Collectives
During Van’s increasing belief in people’s ability to change the world, he has found it very important to form collectives with artists who are fighting similar struggles. He has recently joined forces with fellow younger generation Vietnamese/Australian artists Mai Long (Syd), and Mr D (Melb) and Melbourne artist Kelly Manning whose dad is a Vietnam Vet, to form A-17P (Artists of the 17th Parallel). He is also starting to form a collective with Melbourne Artist Paul Kalemba called The CEOs (Collective Engagement Operatives) - Its main drive involves the solid history of both artists’ street-based works.
Influences
Van’s artistic influences are many. They include Germany’s George Grosz and Hans Haake. Australian artists include Richard Bell, George Gittoes, Gordon Hookey, Deborah Kelly, Azlan McLennan and Juan Davila. (There are also tons of other local and international artists such as Tom Civil and politically motivated graffiti artists who have really stretched the limits to make art available to everybody).
Most Recent Highlight
A most recent highlight in Van’s artistic career so far would be recent Sydney exhibition at Casula Powerhouse called Nam Bang! It was an exhibition which included international Vietnam Veteran and 2nd generation artists who have been affected by the American War in Vietnam. Some of the artists were William Short (USA), Kelly Manning (Melb), Liza Nguyen (France), Shaun Gladwell (Syd) and Soon Mi Yoo (Sth Korea). It was a thrill to have acclaimed US art critic, feminist and activist Lucy Lippard speak at the exhibition’s conference.
Van has many exhibitions planned for the future including lots of street-based works to be exposed to wide audiences locally and internationally. He will continue his international, conceptual interventions called “Eternal Residencies” curated by deceased victims of Imperial wars. He will be exhibiting in this year’s Melbourne Fringe Festival and the Big West Festival.
Van’s ultimate inspiration is his partner Tania, daughter Loyola and son Manolo.
