Post-Grad Portraits: Duong Thuy Nguyen
- Written byPost-Grad Community
- Published date 31 January 2024
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A series of interviews with alumni from across UAL, Post-Grad Portraits is a chance to highlight the achievements of postgrads from the last decade. Post-Grad Portraits is part of our celebration of Post-Grad Community's 10 year anniversary.
Duong Thuy Nguyen
MA Fine Art at Central Saint Martins, 2023
Hello Duong! Could you introduce yourself?
Hi, I'm Duong, I grew up in Hanoi, Vietnam’s capital city, but moved to London in 2021 to continue my artistic pursuits as an interdisciplinary artist, curator, and writer.
My creative journey was shaped by my upbringing, watching Hanoi turn into a densely developed urban landscape. My work revolves around an exploration of origin, memory, and belonging, with a focus on the intricate relationship between self and the environment. Since moving to the UK, I have aimed to unravel the entrenched narratives shaped by colonial histories while grappling with the echoes of contemporary industrialisation.
Tell us about what you do now.
Since graduating last year, I’ve focused on working with other East and South East Asian artists in London. I couldn’t help but feel culturally alienated when I moved to the UK and found myself drawn to artists who shared a similar cultural background. I started this work by channelling my curatorial expertise within the artist collective I co-founded, An.otherasian. I wanted it to become a refuge for amplifying the voices of underrepresented Southeast Asian artists.
My artistic expressions come to life in exhibitions that traverse cultural landscapes, showcasing my work in both the UK and Vietnam. Each piece is a testament to the harmonious convergence of tradition and modernity in my evolving artistic narrative.
What's your proudest moment?
I think my biggest achievement materialised with the first curation of the exhibition, "De-Oriented," in collaboration with fellows from the An.otherasian collective and staged at the Ugly Duck on Tanner Street in Bermondsey, London. This curated experience traversed the delicate terrain of stereotypes and misconceptions with a unique amalgamation of openness and humour. "De-Oriented" not only served as a visual feast but, more crucially, sought to initiate poignant conversations and intellectual exchanges within and between communities.
Presenting the oeuvre of emerging artists, the exhibition delved into the complexities of contemporary Southeast Asian existence. Their discerning works encapsulated a spectrum of pressing issues, including the climate emergency, political unrest, and the archaic nuances of gender roles ingrained in the socio-cultural fabric. The medium spectrum ranged from evocative illustrations and compelling films to immersive installations and captivating performances.
What’s your biggest strength?
I’m not sure I could call it a strength, but I’m most driven when pulling the ESEA community together to create a show that showcases the many narratives of the community.
What's your biggest weakness?
I would say sitting still. I’m always looking for something to do, and struggle to relax. I often find myself fidgeting, and looking for more work, or something to plan.
What's the most significant learning experience you've had?
I would say my journey in curating exhibitions. These transformative endeavours crystallise into a masterclass in teamwork, eloquent communication, and adaptive resilience. The endeavour necessitated not only an adept navigation of the intricate landscapes within the exhibited artworks but also a deft management of the logistical intricacies inherent in such ambitious artistic undertakings. In essence, the profound insights garnered from this experience have etched indelible imprints on my understanding of the multifaceted dynamics intrinsic to the realm of contemporary art curation.
What's your favourite artwork?
One piece that resonates deeply with me is Kader Attia's "Oil and Sugar #2." This Single-channel video piece’s captivating construction, crafted from sugar cubes, undergoes dissolution as crude oil is poured onto it. The visual effect resembles a building imploding in slow motion, only to regenerate to its initial state as the video loops.
Beyond its mesmerising aesthetic, the work carries a profound message, addressing the historical and contemporary roles of oil and sugar in, what Attia described, as the colonial "architecture" of the global world. Attia's piece powerfully explores the interconnected narratives and complexities woven into these seemingly mundane substances.
Where do you see yourself in 10 years?
My goal going forward is to continue the path that I’m currently on. I would love to see greater recognition for London’s ESEA artists, who are working hard to unravel the complex narratives and shared histories of the community. If I can help raise their profile by creating more exhibitions, panel discussions, and promoting our artwork, I’ll be happy.
Where can people find out more about your work?
Related Links
- Find out more about Post-Grad Community's 10 Year Anniversary
- Have you heard about our Family Heirloom project?
Post-Grad Portraits
Are you a UAL Postgraduate Alumni? We're looking to feature postgrads from the last decade in our Post-Grad Portraits Series. Complete our form to get involved.
UAL Post-Grad Community
Established in 2013, Post-Grad Community is an inclusive platform for all UAL postgraduate students to share work, find opportunities and connect with other creatives within the UAL and beyond. Find out more.