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Art In Heart |
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I first watched Dinh Quan's paintings in 1993. The artist's work has its own, specific features. On the one hand, the eye takes delight in admiring luscious, graceful women's figures until it seems to have been replete with excessive pleasure. For woman is always the focus that directly attracts, interprets and connect the viewer's associations in which the space and motifs of ancient communal houses and pagodas urge and recall an equally real and illusory world. That is poetry. On the other hand, Dinh Quan reveal his ego in a dim, dreamy and fragile contour which he himself is not fully aware of. I have known Dinh Quan for more than a year. His work remains consistent, easily identified but he is determined to break it up and denies his presence once he has stamped his originality on it. This is not a courageous action, it is an advantage instead, especially when he is consciously looking for himself and has found it. To understand and to be able to do this, the artist is willing to pay price. In this transitional period, figures and shapes in Quan's paintings lose their integrity, they are broken off and smashed into Smithereens. Yet, on the contrary and quite in reverse, there is some mental convergence in the errant life of the personages towards a fantastic land. The ghastly, frigid call does not resound from eyes or other emitting objects; direct, violent emotion is imposed on the artwork as a whole. Quan's paintings currently contain the polyhedral and sophisticated powers of knowledge which harmoniously exist in the state of infatuation and frenzied zeal; elsewhere, in various parts, it is the yell from the fathomless bottom of the mind. Quan feels all the more lonely the moment he is more humanistic. Having mastered the traditional lacquer painting method and technique, Quan's art now integrates into the supernatural beauty of lacquer media. Dinh Quan's painting has been sublimated viewed from this superiority, only a few artists have got the same internal power as his. NGUYEN XUAN TIEP |
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