| Biography | Artist Statement I Inventory Catalogue | Artists Represented | Nam Nguyen


Biography

Born in 1982, Edmonton, Alberta, Canada
Currently lives and works in Berlin, Germany

Education

2008
MFA, Nscad University, Halifax, NS
2005
BFA, Emily Carr Institute, Vancouver, BC
2003
Diploma Fine Arts, Grant MacEwan College, Edmonton, AB
2001
Open Studies, University of Alberta, Edmonton, AB


Inventory Catalogue


Solo Exhibitions



2008       
MFA Thesis Exhibition: ImageObjectIdeaMaterial, Anna Leonowens Gallery, Halifax, NS


2004
Painting Show, Emily Carr Institute Student Exhibition Gallery, Vancouver, BC


2004 I Believe in your Art, Emily Carr Institute Student Exhibition Gallery, Vancouver, BC



Group Exhibitions




2010
Line Up!, Art Beatus Gallery, In Conjunction with Drawn Festival,
Vancouver, BC


2009
In Return, Sydney College of Art Gallery, Sydney College of Art, Sydney, Australia


2008
Joseph Plaskett Foundation Award Fifth Anniversary Retrospective Exhibition, Concourse Gallery, Emily Carr Institute of Art and Design, Vancouver, BC


2008
Strange and Fantastic, Ideal Gallery, Calgary, AB


2008
Regeneration, Annual Khyber Institute of the Arts Members Show, Khyber ICA, Halifax, NS 


2008
Broken Telephone, Nscad University MFA Group Show, Anna Leonowens Gallery, Halifax, NS


2007
Royal Bank of Canada Painting Competition, Touring Exhibition:

Ontario College of Art and Design, Toronto, ON; Galerie d' art Louise-et Reuben-Cohen, Moncton, NB; McClaren Art Centre, Barrie, ON; Winnipeg Art Gallery, Winnipeg, MB; Concourse Gallery, Emily Carr Institute of Art and Design, Vancouver, BC



2007 Interrobang, Nscad University MFA Group Show, Anna Leonowens Gallery, Halifax, NS


2005
Shift Control Landscapes, Elliot Louis Gallery, Vancouver, BC


2005
Coffee/Art, Art/Coffee, Blake's Coffee, Vancouver, BC


2005
On a Whim, Tatar Gallery, Toronto, ON


2005
Return to Sender, 69 Pender Gallery, Vancouver, BC


2005
1003 McClean Exhibition, 1003 McClean Temporary Space, Vancouver, BC


2005
Alchemy, Concourse Gallery, Vancouver, BC


2005
There They Hang, Concourse Gallery, Vancouver, BC


2004
Figurative Editorial, Concourse Gallery, Vancouver, BC


2004
Miniature Show, Emily Carr Institute Student Exhibition Gallery


2003
Blink, Grant MacEwan College Graduation Show, Grant MacEwan College, Edmonton, AB



Related Awards and Experience



2008    
Joseph Plaskett Foundation Award


 
25000 for the purpose of practice related research in Europe


2007
Royal Bank of Canada Painting Competition Finalist


2007
Contributing Writer to Fleurs du Mal Magazine, Montreal, QC


2006
Harrison McCain Scholarship


2006
Nscad University Graduate Fellowship Award


2003
Loyal Order of the Crocodile Scholarship


2003
Grant MacEwan College Purchase Award



Selected Bibliogrpahy



2009 Sandals, Leah. "Class of 2008: At the Threshold of the Art World." Canadian Art. Winter 2008



Nguyen, Nam Duc. "Joseph Plasket Award The First Five Years: Winners' Exhibition 2004 - 2008." Exhibition Catalogue, 2008.



Hein, Jessica. "Profile: Nam Nguyen." Nscad Alumni Magazine. 2009.



Nguyen, Nam Duc. "RBC Canadian Painting Competition: Ten Years." 2009.


2008
Nguyen, Nam Duc. "Special Edition Painting Insert." Free Coffee. April 2008.


2007
Nguyen, Nam Duc. "Plastikos: A Solidification of Flux." Plastiko: Recent Photographs, 2007. 



Nguyen, Nam Duc. "Interview with Stephan Schulz." Les Fleurs du Mal, October 2007.


2006
Nguyen, Nam Duc. "Sound, Vision, Painting?: Review of Exhibition, Sound and Vision at the Musee des beauxs arts." Les Fleurs du Mal, October 2007.


2005
Farquharson, Catherine. "Whin works: No passing thoughts here." New Magazine, August 25 - 31, 2005.



Scott, Micheal.  "Emily Carr's Spring Grad Exhibition Shows an Orchard of Talent in Bloom." Vancouver Sun, May 29, 2005. 



Laurence, Robin. "Shows Cook Up Raw Talent." Georgia Straight, May 19-26, 2005



Artist Statement


“The body of metamorphosis knows neither metaphor nor meaning.  Meaning does not slip from one
form to the other, it is the forms which slip directly from one to the other, as in dance movements, or oracular prophecies.”  -Jean Baudrillard


What is the relationship between my strange encounters I experience as I walk through urban
spaces?  How can the images I create antagonize to refresh one’s vision of the ordinary?  These are the central questions that provide the tension necessary for the production of my art.


In the spirit of meandering, I a
m mindful of the importance of  intuition and self-awareness that may result in arriving upon illuminating meditations.  From my meanderings I take digital photographs that serve as the initial step, the collecting of raw materials for a process of analysis through systematic mediation.  Through acts mediation, tracing, drawing, digital printing etc., I deconstruct and reconstruct the image.  Light, color, composition, etc. are explored through an analysis, a working through of the photographic image.   My process of analyzing the image paradoxically denatures the image to an unrecognizable state.  In this form they act as signposts of a poetic and mindful connection, pointing to an atmosphere of suspended reality. 


My practice as emerges from the artistic tradition of Realism, with Photo-Realist artists, Richard Estes and Chuck Close, as pivotal figures in the tradition of analytical image making.  As I am, like many of my contemporaries, are working in the wake of past achievements, ie. post-conceptual, post-minimal, and post-modern art, I am attempting to define in my work a post-photorealist practice.  In that I continue an analytical mode, a methodological process, that now sustains itself through examining a images that cannot fully be understood as “photographic” as it was in the time of PhotoRealism.  We are in a period of the digital image, that is created with manipulation tools accessible on a mass level.  The image no longer hides within the magic of chemical development but is profanely displayed on LCD screens on all manner of devices.  In short the analytical mode of image realism is no longer interested in fidelity to photographic objectivity.  Rather, a
post-photorealist practice seeks to investigate the metamorphic nature of images.  The image is not approached as a thing unto itself, but as an invisibility that passes through an
d exists in a fluid network of  mediums.


 - Nam Nguyen