Artist Pham Ha Hai with the quietude of the East

Known as a persevering artist who pursues themes related to the spirit and nature of the East, and having achieved some initial successes, artist Pham Ha Hai (pictured) shares a few professional anecdotes and his upcoming plans with Nhan Dan monthly.

After nearly two decades of pursuing themes related to the spirit and nature of the East, what do you feel you have achieved?

I am considered to have early established my style with little hesitation (laughs...). Of course, at each stage of my artistic journey, I have left distinct marks as a painter. If I were to say a bit about my approach, it is that I don't want to depict things in a conventional manner but instead, I aim to present a system of signals that guide viewers into a realm of calmness close to meditation.

To achieve this, I'm sure there have been struggles and sacrifices?

Seeking beauty in the spirit of cultural heritage is an endless journey. It is more about self-experience than serving any specific purpose. Artists must be willing to let go of the transient glories and trends, without being dependent or controlled by the market. I've pondered this extensively and ultimately decided to choose this path!

Image & Shadow number 1602, 2016, Oil & Acrylic on canvas, 90 x 120 (cm)

If I were to say a bit about my approach, it's that I don't want to depict things in a conventional manner. Instead, I aim to provide a system of signals that guide viewers into a realm of tranquility, akin to meditation.

Many people believe that your works have strong elements in terms of form, color, and composition. However, they also feel that there is a lack of freshness and a contemporary life rhythm in your art. What are your thoughts on these perceptions?

If viewers are familiar with more of my works since the early 2000s, they might not feel that way. In 2015, my painting "Giao mùa" (Harvesting Season) received a Silver Medal at the National Fine Arts Exhibition, which was a professional honor for me. Many people notice lotus flower images in my work. The lotus is a relatively traditional subject, and many artists from neighboring countries have painted it as well. However, I create an atmosphere around the lotus rather than directly portraying it. In my paintings, personal emotions are a reality within, which might be abstract to the outside. Many empathetic people appreciate the artwork because they can perceive their own feelings in it. Imaginative thinking in painting is what I aim for, so evoking emotions is what I pursue. Specifically, when I feel autumn, I remember the scent and taste of rice, and I don't depict rice explicitly in its visual reality; instead, I evoke its essence, and that is enough. I often place my works in monochromatic or subdued settings because I feel that's all that's needed. Each color carries a unique value of visual communication, triggering associations with the most fundamental elements of everything: space, time, and existence. In this way, my contribution is like a humble flower in a vast garden, perhaps a silent lotus or even a dried lotus stem in the morning light. Every artist wishes to create something fresh and meaningful, and what is current today will soon become the past.

Early Red Winter, 2016, Oil & Acrylic on canvas, 40 x 50 (cm).

What do you hope your future works will be like?

Recently, when I created the "Emotions of October" series, I was contemplating the color system of Vietnam. The deep red color of betel leaves suggests the rosy lips of women in the past, which was a traditional beauty standard (fair skin, black hair, rosy lips, etc.). It's also a symbolic image within the traditional aesthetic and cultural values. This line of thought influenced my "Shapes and Shadows" series in this period. My concept of "empathetic painting" requires strict attention to both space and time. To truly connect with the artwork, it needs to correspond to the emotional state of the subject. For me, the experience of painting is a daily inner dialogue with the objective world. These will be small stories, like silent monologues. In front of me, there are thoughts about the heritage of "Shapes and Shadows" that started with "Shadow of Heritage" (depicting Champa towers), "Red River No. 1"… In 2017, I think I'll be occupied with a flood of ideas.

The abstract approach to painting that you're practicing seems to be gaining public appreciation. Could you elaborate on this style of expression?

Sparing details or dissolving is what I'm currently emphasizing.

What is the biggest challenge for you?

The minimalistic style of painting demands a sense of substance, for me, it's energy. That's the key requirement.

Thank you for sharing, artist Pham Ha Hai!

Author: Khoi Nguyen

Source: Newspaper Nhan Dan