Artist Pham Ha Hai: Forecasting a vibrant period for Vietnamese art

Vietnamese fine arts are currently undergoing a significant transformation through generations of formally trained artists. These artists have the opportunity to live in an environment with a lot of interactions, exchanges, and favorable art markets. However, Vietnamese art also faces numerous challenges, not solely caused by the COVID-19 pandemic but rooted in long-standing issues, such as forgery and jealousy within the art community.

These issues are like "viruses" with hidden elements that require a strong vaccine to overcome. Only then can Vietnamese art truly be healthy and worthy of inheriting and continuing a tradition that many generations of Vietnamese artists have built. Artist Pham Ha Hai, the subject of this conversation, believes that the reason we haven't seen more significant artworks than in the past is because the "magnitude" of genuine art is not just about its physical size but lies in the artist's inner depth.

A large piece of work is not necessarily a great piece of work.

Interviewer (PV): With economic development, the art market in Vietnam has become more vibrant. Observing art festivals, exhibitions, auctions, or even just browsing on social media reveals the dynamism in buying and selling paintings. Gone are the days of bartering artwork for a cup of coffee, as famously depicted in the case of painter Bui Xuan Phai in the last century. Now, we have "million-dollar artists" in the Vietnamese art scene. Artist Pham Ha Hai, I would like to hear your assessment of the current art market.

Artist Pham Ha Hai: We have to admit that the Vietnamese art market is gradually becoming more professional. The rapid increase in the number of art players in the domestic market is a positive condition for the growth of art. The emergence of art collectors, private art collections, private museums, auction houses, and art brokers will essentially complete a professional art market ecosystem. The aspect that needs to be more professional and robust is art criticism and galleries.

In my opinion, the upcoming period will be a bustling time for Vietnamese art. Today's generation of artists has learned from the past and, in the context of global information, both the creative process and the art market are becoming clearer and more transparent. Many contemporary artists are truly professional and will go further. Diverse and innovative artworks that reveal unique personalities are captivating. Over the past three years, there have been many solo exhibitions, group exhibitions, and specialized exhibitions in and outside Vietnam, showing a resurgence after a relatively quiet period. However, I've noticed that many outstanding individual artists and exceptional artworks are not often part of the trend-driven exhibitions. Additionally, there is a trend towards artworks meant to be viewed quickly, emphasizing demonstration or illustration of content.

Actually, trend-driven exhibitions are somewhat "popular" and attract many people to the world of art. However, it is evident that to create large-scale artworks, another dimension is needed from the creative perspective. We are facing the reality that contemporary artists have a better art environment than the previous generations, more opportunities, social stability, and development, and a greater variety of materials and information. We all know that the "magnitude" of true art is not solely determined by its physical size but rather lies in the artist's inner depth.

Today's society is fast-paced, people eat, travel, read, and consume media quickly. This global trend of a fast-paced world and globalization is making everywhere look the same, and we are all caught up in the whirlwind of consumption, possibly blurring the differences in our identities.

After the Doi Moi period, Vietnam strongly integrated into the global community, which exposed artists and their works to the larger regional and global stage. The diversification and multi-directional aspect of art can be seen, but it is true that achieving "magnificence" is difficult and demands that the artist have a deep understanding of local culture and contemporary issues. For an artwork to reach its highest peak, it must superbly encompass personal, cultural, and contemporary issues.

In essence, what this means is that today's artists have more advantages and opportunities than their predecessors, but the essence of "magnificence" in art doesn't merely lie in physical size. It's about delving into the inner depth of the artist. In today's fast-paced world, people are accustomed to quick meals, quick travel, quick reading, and quick consumption of content. This is a result of globalization, where the world is becoming more homogenous, and individuality is fading.

After the Đổi Mới (Renovation) period, Vietnam has undergone strong integration and artists and their works are now seen on a much larger regional and global stage, with a greater diversity and multiplicity in their directions. Every artist strives to create "magnificent" works, but it's a challenging task that requires artists to have a deep understanding of their local culture and contemporary issues to make their artwork truly exceptional. An exceptional artwork should impeccably encapsulate personal, cultural, and contemporary aspects.

Somewhere there are still discussions about this artist, drawing a lot "like a machine," another artist drawing less, not appearing at any exhibitions. In your opinion, what does it mean when an artist draws a lot or a little? What about the artists who sell many paintings at this time, does it indicate any "measurement" or is it purely "market art" (not "art") as many people, even those in the art world, compare and form such concepts?

In the creative life, the act of drawing a lot or drawing less is an individual choice, influenced by factors like personal circumstances, conditions, methods, temperament, and so on. What the art community is concerned about is whether these creations bring something new to both the audience and the artist themselves. Are there any shifts, new discoveries, or personal creative innovations in the technique of expression? Selling many paintings naturally indicates the artist's level of professionalism, societal recognition, and commercial value.

An artist's individual creative life should be independent in thought and should dig deep into their own ideas. When a painting reaches the market, it may be subjected to various market conditions and commercial aspects. So, it's essential to understand that every artwork is influenced to some extent by market dynamics. Rather than thinking of this painting as market-oriented and that one as non-market-oriented, it's more reasonable to comprehend the whole art market with different segments, including museums, collectors, and interior decoration needs.

As an artist, there's no need to dwell on these concepts. What's crucial is the work itself, and it will find its appropriate place. Ultimately, culture and aesthetics play a significant role in all of this.

Mother Au Co (From the series "100 Paintings - 2017 / acrylic / each small painting 30x25 cm).

Fake paintings hinder the domestic market.

One of the prominent stories in Vietnamese art recently is the issue of fake paintings. No longer hidden or concealed, fake paintings have boldly appeared in exhibitions and auctions. Most recently, at the age of 90, the artist Nguyen Thu had to publicly declare, "I do not paint lacquer" when he saw a lacquer painting falsely attributed to him being auctioned by Aguttes (France). You, Pham Ha Hai, formerly worked at the Vietnam Fine Arts Museum; how do you assess this situation?

Fake paintings openly exhibited (such as the "Paintings returned from Europe" exhibition at the Ho Chi Minh City Fine Arts Museum); in auctions (like Aguttes in France) and some other cases... are indeed a major problem. They damage the reputation of the artists, cast doubt on the value of collections (for example, the museum's collection), create a distorted perception of the value of Vietnamese art, and hinder or disrupt a growing domestic art market. Therefore, artists have strongly spoken out with the support of the press.
In essence, in my opinion, the issue of fake paintings will fluctuate with the development of art. The struggle against fake paintings is a natural part of the efforts of all the parties involved: the artists, collectors, researchers, critics, art dealers, art intermediaries, the media... However, the difference between being "hidden" and being "open" is significant. If "openness" implies "no problem," that is a sign of legal and regulatory inefficiency.

From practical observation, it seems that we are fighting against fake paintings in waves. We see them rising and then falling, and sometimes, there is a real struggle. Our legal framework and the penalties for forgery are not strong enough. In your opinion, what are we missing to create a transparent art market?

I believe that for control and transparency, Vietnam needs to build a comprehensive system of data and information that can protect its rights when there are international disputes. We also need a strong enough legal framework to prevent domestic violations. With a professional eye, can you identify the "tricks" of the forgery industry and the "alterations" used to create a counterfeit painting that has a "legitimate" profile?

Currently, most of the paintings of Vietnamese artists from the colonial period are copied as time has filtered their values and driven up their transaction prices. The same will happen in the future with the next generation of artists. Fake paintings come in various forms, including a complete copy (materials, size, style, signature), and they can also be created through a combination of elements, with the signature of a famous artist added... Specifically, how the profiles are created is something only those who are directly involved in the transactions can grasp.

Do you believe that most of the fake paintings of Vietnamese artists are created within Vietnam?

I also believe that is the case.

Strongly pushing back against fake paintings is one of the goals of the new Chairman of the Vietnam Fine Arts Association, Luong Xuan Doan. What do you expect from this determination? Have you felt any "new breeze" since the Vietnam Fine Arts Association has a new, younger chairman?

I am very pleased that Chairman of the Vietnam Fine Arts Association has taken action on this issue during his term. Certainly, with the determination of the leader, I believe there will be many positive results. Artist Luong Xuan Doan is trusted by many colleagues, and I believe he will effectively address this issue.

Artist Pham Ha Hai in the painting workshop.

The artist's rightful place is in the studio.

As a former official at the Bureau of Fine Arts, Photography, and Exhibition, what prompted or influenced Pham Ha Hai to leave and focus on his painting career?

The decision to leave the state job and concentrate on being a professional painter (100% of my time for creation) was a long-held aspiration that matured over many years and when fully ripe, I made that decision quite lightly. The career of a civil servant at the museum was not attractive because of the salary, but it gave me daily exposure to both ancient and modern art. The 10 years working there had its own significance, and our lives at the museum also held beautiful memories, and we always set aside time after work for our creative endeavors. During those years, I had a close relationship with the ceramic artist Nguyen Khac Quan, we talked a lot, he was passionately creating, and we often talked about the idea that a professional artist would be the most satisfying for an artist's life. After that, I transferred to the Bureau of Fine Arts, Photography, and Exhibition as a civil servant, where I had a broader perspective, and I finished the state job after completing the "Open Door - 30 Years of Fine Arts Reform 1986-2016" program. When I met artist Tran Luu Hau for the program, he confided that the "right place for an artist is in the studio..." and that was like a reminder for me once again.
Abstract art is a trend in painting from the early 20th century. Many famous artists in the world have made their names in this movement. Did you deliberately choose abstraction or did it happen spontaneously? Has abstract thinking made your work more challenging or complicated?

I started creating abstract paintings around 1995, and those acrylic paintings on canvas at that time were displayed in a gallery and sold to the Australian Testra Corporation. The lacquer painting "Good Well" won second prize in the 1997 art student exhibition and it was also an abstract painting (now owned by someone living in France). To this day, and not only in Vietnam, abstraction remains a separate current, it may not make everyone stop and admire it, but it will be something that holds the eyes of art lovers for a long time. For me, too, sometimes I paint differently, but ultimately it's just to discover a different aspect of myself while abstract spirit is still predominant.
As a Vietnamese person, with a life full of affection, Eastern culture with knowledge of medicine, philosophy, and folk life makes us deal with them every day. These connections are the foundation of your emotions about weather, morality, messages from history and identity, which have made my artistic thinking imaginative. It may be difficult for the viewer, and for example, in 2017, with the awareness of the Year of the Rooster, I didn't paint chickens like other artists but I painted eggs. 100 small paintings of eggs from the straw nest were created from the idea of the legend of Mother Au Co laying a hundred eggs. That was an inspiration for creating the work.

That Eastern spirit can be seen in many of your paintings related to the lotus. Lotus flowers, lotus leaves, lotus ponds, dew on lotus flowers, and even the decay of the lotus. Certainly, you have found an attraction in this subject to express your artistic language?

The painting "Ho Sen" (displayed at the 2005 National Fine Arts Exhibition) is a large 200x200 cm that marks the stage of water with my work inspired by the lotus. My lotus-themed research and creation have followed that course for 15 years. The painting "Seasonal Change" (Silver Medal at the 2015 National Fine Arts Exhibition) is a large 160x320 cm work, with a layout composed of four pieces, inspired by the four seasons with lotus, and the entire painting is in gray and white colors with rhythms created from the lotus theme.
I don't depict the lotus, and I also avoid the way Asian countries paint lotuses. I paint with the idea of withered lotus, shedding colors, as if stepping into old age to reveal another beauty, like a knight looking at the essential quality that is more important. It's also an idea to make the painting not just a landscape, but it's about feelings and the artist's inner world. Every artist has a unique character, and in the creative process, it reflects the artist's personality. My creations are generally low in color, detail on the canvas surface is increasingly reduced, the surface of the painting hides the details, gradually diminishing the contrasts until the final result is only minimal differences. This aesthetics is understood and appreciated by people with a lot of experiences, who appreciate calmness, delicacy, minimalism, and are usually meticulous.

Sincerely thank you, artist Pham Ha Hai!

Dewdrops - 2017

The Covid-19 pandemic will cause people to change and pay attention to many things that were previously overlooked. The term "living slowly" is mentioned by many during the days when the government implemented social distancing measures for 15 days starting from April 1, 2020. How does this affect the work of an artist like you? Do you have any creative ideas during the Covid-19 pandemic?

The government's announcement of social distancing measures is to prevent the spread of Covid-19, but through this compulsory experience, most people will readjust their daily habits. I believe people will undergo definite changes in their lives. People will focus more on family, allocate time for core values such as health, well-being, reduce excessive consumption, and indeed, practice living slowly. For an artist, the creative work takes place in an independent studio, so the fundamental work itself doesn't change. However, social distancing affects social activities, interactions, and leads to the cancellation of many exhibitions. The global pandemic has caused the postponement of my programs in the United States in April and Europe this summer, which are now rescheduled for later this year.

Covid-19 has made everyone contemplate life. I've always believed that life is the most precious gift we've been given, and time is invaluable. Most of my artworks are experiences of life, capturing moments or reflecting on the passage of time. For over three years, I've dedicated all my time to create and exhibit. Currently, I'm still working on my "Seasons Diary" series, which began in 2019 and is planned to continue throughout 2020.

Author: Nguyen Thanh Binh

Source: Newspaper Dai Doan Ket