Solo Exhibitions
|
2008
|
MFA Thesis
Exhibition: ImageObjectIdeaMaterial, Anna
Leonowens Gallery, Halifax, NS
|
2004
|
Painting Show,
Emily Carr Institute Student Exhibition Gallery,
Vancouver, BC
|
|
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
|
|
Strange and
Fantastic, Ideal Gallery, Calgary, AB
|
|
Regeneration,
Annual Khyber Institute of the Arts Members Show, Khyber
ICA, Halifax, NS
|
|
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
|
|
Interrobang,
NSCAD University MFA Group Show, Anna Leonowens Gallery,
Halifax, NS
|
2005
|
Shift Control
Landscapes, Elliot Louis Gallery, Vancouver, BC
|
|
Coffee/Art,
Art/Coffee, Blake's Coffee, Vancouver, BC
|
|
On a Whim,
Tatar Gallery, Toronto, ON
|
|
Return to Sender,
69 Pender Gallery, Vancouver, BC
|
|
1003 McClean
Exhibition, 1003 McClean Temporary Space, Vancouver,
BC
|
|
Alchemy,
Concourse Gallery, Vancouver, BC
|
|
There They Hang,
Concourse Gallery, Vancouver, BC
|
2004
|
Figurative
Editorial, Concourse Gallery, Vancouver, BC
|
|
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
|
|
Contributing Writer to
Fleurs du Mal Magazine, Montreal, QC
|
2006
|
Harrison McCain
Scholarship
|
|
NSCAD University
Graduate Fellowship Award
|
2003
|
Loyal Order of the
Crocodile Scholarship
|
|
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 am 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 and exists in a fluid
network of mediums.
- Nam
Nguyen
|
For further
information, please contact:
Canada: tel: (1) 604.688.2633,
fax: (1) 604.688.2685
|
