Initially, some existing wood engravings were used as a base for the lacquer paintings. They were enlarged in size, with sparkling colors and a certain mystical quality of lacquer material. Especially notable is the color palette of brownish yellow, bronze yellow, and the reddish brown of the earth, or else slate, green and purple, reminiscent of mountains, and forests. All of these affect a profound sense of resonance, ancient echoes, and the heritage of countless generations. This was a highly experimental period for the artist, as he immersed himself in the free play of unfettered creativity.

In the lacquer paintings, the existing themes and images in his repertoire are transformed into three-dimensional masses, blocks, cylinders, cones and pyramids. They are more solid, taut, with sharper angles, often depicted in an enlarged, close-up, frontal perspective. Thus, human figures appear rough and monumental, resembling bas-reliefs or sculptures. Although flat space is still present, the raised forms emerge through a technique of obfuscation and the blending of light and shade, as is commonly seen in painting. Some of these artworks impart the sensation of three-dimensional bronze statues, bold and powerful, as if there is a voice echoing from within in a modern language. Phung Pham’s lacquer paintings are not glossy and smooth like traditional lacquer paintings. He has his own technique, applying layers of color and polishing in order to produce a precisely desired effect. This blending of colors and the interweaving of layers conspire to create a sparkling harmony on the surface, owning to the shining layers of gold or silver beneath. The artist has expressed his opinion that the glossy finish is not suitable for the raw and robust language of this style. The artistic glamour and luxurious golden shine of lacquer materials are not necessarily appropriate or desirable in every instance.

In his 90s, Phung Pham continued to labor in artistic pursuits, where drawing is tantamount to his very breath, and the joy of his life. His art, from woodblock prints to lacquer paintings, possesses a unique resonance and vitality, as well as a certain strangeness. It spans from East to West, from traditional Vietnamese to the language of the modern world. The stories, themes, and people are drawn either from Vietnamese cultural history, or the universal stories of humanity throughout time. As these themes are conveyed by the artist and depicted on canvas, they are honored in the enduring and timeless beauty of art. Perhaps, that is the most noble significance of an artist’s life.

Bui Nhu Huong
Art Researcher and Critic

written in March 2023