#13: Do Trong Quy
On his journey as a Vietnamese artist in America, collecting toys, darkwear fashion, and more.
Do Trong Quy, a Hanoi native and graduate of Vietnam University of Fine Arts, now pursuing a master's at the School of the Art Institute of Chicago (SAIC). A young artist deeply connected to generational responsibility, Quy embraces diverse mediums. His adept still life painting carries a playful yet thought-provoking essence, challenging established Vietnamese art norms. Influences like Agnes Martin and Clyfford Still contribute to this dynamic. Similar to Grimms' fairy tales, his innocent imagery carries hidden disruptive messages, using cuteness to soften complex realities. His work has graced institutions like Dong Phong Gallery, Mo Art Space, and Van Mieu Temple.
A Facebook status reads: “Artist manifesto/against the institution: I am a male artist born into a happy and well-educated family. I'm a healthy person both physically and mentally. Besides, I'm handsome. I see myself as a global citizen. I love making American art because they’re not just for Americans. I love wearing Rick Owens and hanging out with beautiful women. I like to keep my hair short and shaved because it's neater and more hygienic.“
In addition to this, you mentioned cosplaying as an American artist when discussing your work 'American Art,' which shows evident influence from Alex Katz's imagery. It seems that you have a particular image in mind when delving into this subject. Could you expand on this concept and share your interpretation of an American through your work?
Every kid, I think, wants to dress up as their favorite character or their parents, a playful pursuit that unveils the world's nuances. The guise of an "American Artist" may seem politically weighty, but it's a personal battle against my own ego.
Born during Vietnam's Doi Moi1 era, I was steeped in US pop culture – music, films, toys – a testament to America's marketing prowess. This influence pervades not only me but my society, imbuing "American" with an air of excellence. This shift estranges my art from conventional motifs, often deemed "Western." Yet, like any artist, I seek a unique imprint.
In 2022, my journey to the US unveiled America's marketing prowess. I grasped the desires of art institutions for Asian creators: politically charged works or culturally symbolic products – a veiled form of exploitation. Contrary to this, observing American peers revealed their playful, personal, and intriguing approach to art. I'm not aiming to be a politician, but understanding institutions inspired my ongoing project, "Q become American." This endeavor turned into a "self-destructive" process for me, contradicting my artist's desire to leave a distinct mark. Within this project, I mimic drawings by US artists, striving for an "American" identity. It's a comedic reflection, born from a fruitless pursuit. Subtly, this kind of tact clarifies my identity.
Having spent a year living in Chicago, what transformative changes have occurred in your mindset as an artist? How has this city influenced your creative approach and artistic vision?
I spend most of my time in this city during the winter. Bitter cold and early sunsets, the reverberating sound of trains and the pleas of homeless individuals juxtaposed against modern architecture—these are the impressions etched into my memory. They seem to be in perfect contrast in the gray space of winter. These experiences have led me to numerous associations with sound, the fast pace of life, and the intrinsic dichotomies present in a work of art, thereby opening me up to practicing concepts that extend beyond the confines of traditional painting.
Your recent visit to your homeland for a short vacation must have been enlightening. How has it shaped your perspective on Vietnamese art?
Upon my return, the most significant shift lay in my perception and interaction with the familiar. I now see myself as a tourist, rekindling my appreciation for the seemingly mundane, which consistently surprises me. This curiosity made me more confident and propels me toward previously unexplored territories. My journey through art spaces and engagements with fellow artists provided a glimpse into Vietnam's burgeoning artistic potential. The emerging cohort of Vietnamese artists exhibits heightened openness and personalized approaches in their practice. Their conscientious adaptation of global trends with distinct local contexts adds an intriguing dimension. Workshops and forums orchestrated by individual collectives yield tangible educational and outreach merits. Notably, the revival and evolution of collection trends within the local community contribute significantly to the nurturing of a sustainable and expanding art ecosystem.
Can you tell me about what is happening in November?
Last year, a group of Vietnamese artists, including myself, who live and work in Chicago, had a wonderful opportunity to visit the post-Vietnam War art collection managed by Mr. Albert Goodman. The exhibition 'A Village Before Us' will take place at this very location, serving as a dialogue between our works and those in this collection.
Information about the exhibition can be found on the website:
https://www.avillagebeforeus.com/
Let's take a peek into Quy's personal tastes. Here's a glimpse of what he enjoys:
🏡 🚗 Collecting Toys
I'm into collecting car toys, dollhouse models, and superhero action figures. As a kid, Hot Wheels were my favorite—it's an American brand, and back then, it felt more premium than what the other kids were playing with. You could buy three sets of Chinese Legos with that money, instead of a tiny car; it's kind of a trade-off. It became a life philosophy later on because I feel that something of high quality still brings more value than a larger number of things. Up to now, I still prefer toy cats over real cars because I feel more in control of it, and I like the sense of control. The same goes for dollhouses and real estate.
🐥🐤 Ducks
Ducks are the most adorable creatures on the planet. They are little tubby animals with fluffy white feathers. I like them because they're often portrayed as innocent characters in Tom & Jerry. The pronunciation of 'duck' is also very close to 'dark.'
🕶 🧥 Darkwear fashion
The reason I started to collect Darkwear is due to a suggestion from a close friend, who has a fashion background. Simultaneously, it reflects my attitude at that time to counter the image of most local artists dressed in a Hippie style, with untidy clothes and long hair. This image, to me, is like a plea for the empathy of art collectors. I want to present myself as neat and discreetly elegant when meeting them. However, since I began collecting them, I've become more interested in how they are created. The process of hand-washing the clothes brings me daily contact with the details of each item and the sensation of different fabrics against the skin. This process helps me understand the designer's mindset, leading me to have higher expectations for the quality of my own products. This approach differs from the mindset of creating a product solely based on emotions.
💪🎨 Working alone
As a relatively independent practitioner, I usually work alone. I am very afraid to ask for help or rely on the progress of work from others. Teamwork has never been a priority for me. My recent work, "A Blessing," is the first piece I've created without solely using my own hands. However, it cannot be considered a group project either.
