• UPCOMING EXHIBITIONS:

    for more & completed list of exhibitions, please go to the link:
    hung4art.com/resume

    1. "ART MARKET SAN FRANCISCO" - Art Fair
    April 27-30, 2017
    Fort Mason Center - Festival Pavilion
    2 Marina Blvd. San Francisco, CA 94123
    Booth #113, Represented by Sergott Contemporary Art Alliance
    http://artmarketsf.com/
    http://sergottart.com/art-fairs/art-market-san-francisco-2017/

    2. "ART CONTEXT NEW YORK 2017" - Art Fair
    May 3-7, 2017
    Pier 94
    12th Avenue at 55th Street. New York, NY 10019
    Booth #C105, Represented by Sergott Contemporary Art Alliance
    Beside some paintings at the booth C105, I also have the painting Sacred Landscape II # 21/Sakura # 3 has been selected to be placed in a public space at CONTEXT New York 2017.
    http://www.contextnyfair.com/DesktopDefault.aspx?tabid=1
    http://sergottart.com/newsletters/scaa_context-new-york-2017.html

    3. "FLAT EARTH SOCIETY" - Group Show
    April 29-May 27, 2017
    Opening Reception Saturday April 29, 6-9pm
    Curated by Jason Ramos
    Eastside International Los Angeles/ESXLA at The Brewery Annex
    602 Moulton Ave. Los Angeles, CA
    http://www.eastsideinternational.com/

    4. "ANCIENT PINES" - Three Artists Exhibition
    May 4-28, 2017
    Opening Reception Sunday May 7, 1-3pm
    LA ARTCORE Gallery at The Brewery Annex
    650A South Avenue 21, Los Angeles, CA 90031
    (323) 276-9320
    https://laartcore.org/
    I will display many paintings of the series "Ancient Pines" in the show.
    "53rd INTERNATIONAL EXHIBITION"
    Juror David A. Ross (art museum professional & curator)
    April 18 - May 24th, 2015
    Gala Opening Reception Saturday, April 18th, 6-8pm
    at:
    SAN DIEGO ART INSTITUTE (SDAI)
    MUSEUM OF THE LIVING ARTIST
    1439 El Prado
    San Diego, CA 92101
    (619) 236-0011
    www.sandiego-art.org
    * Painting SACRED COVE #1 (oil on panel, 72" x 40") won two prizes: "Juror's Choice Award" and "Media Services Award"

    "GETTIN' OFF THE GROUND"
    Curator Isabelle Lutterodt, Director of Visual Art
    April 26th - June 28th, 2015
    Reception: April 26th, 2-5pm
    at:
    ANGELS GATE CULTURAL CENTER
    3601 South Gaffey St., Box 1
    San Pedro, CA 90731
    www.angelsgateart.org/shows/gettin-off-?
    www.angelsgateart.org
    (310) 519-0936

    "SOUTH BAY CONTEMPORARY ART EXHIBITION"
    Curator Peggy Zask, Director of South Bay Contemporary
    at:
    ROLLING HILLS COUNTRY CLUB
    27000 Palos Verdes Dr E
    Rolling Hills Estates, CA 90274
    (310) 326-7721

    "STUDIO SYSTEM" - ARTISTS RESIDENCY at TORRANCE ART MUSEUM
    Curator Max Presneill, Director & Head Curator at TAM
    Through August of this year the TAM will be trying an experiment in the presentation of art and public interactivity. This project will be titled Studio System. For one month – from Saturday 1 to Saturday 29 we are going to ask a small group of artists to produce work within the Main Gallery of the museum, using it as a studio. At the end of this process, on Saturday 29 August, 6-9pm, we will host a Reception for the artists to display what was created. (TAM)
    Reception: Saturday, August 29, 2015. 6-9pm
    at:
    TORRANCE ART MUSEUM (TAM)
    3320 Civic Center
    Torrance, CA 90503
    www.torranceartmuseum.com/


    For immediate release
    Hung Viet Nguyen: SACRED LANDSCAPE

    Opening Reception:
    DECEMBER 13th, 2014 - 6-9pm
    at:
    LAUNCH LA Gallery
    170 S. La Brea Ave., 2nd Floor
    Los Angeles, CA
    323. 899.1363

    Hours: Thursday - Saturday, 12 - 6pm
    and by appointment

    LAUNCH LA is proud to present Sacred Landscape by Hung Viet Nguyen. Sacred Landscape is a collection of landscapes of almost mystical serenity, fusing Nguyen’s schooling in the Eastern and Western painterly arts. Water swirls from heights, turns and levitates, the earth and rocks curve and twist into sinuous shapes: opposing landscapes threaten to collide and merge, or perhaps are frozen in separation like cells in mitosis.

    In their colors and themes these paintings resonate with a common concept in Asian philosophy: Wu Xing - the five elements – wood, fire, metal, earth and water seen as forces which dictate universal law, the course of nature and the minutest human affairs. This influence manifests itself in willowy trees clinging to exposed rocks, in waves and the burning brightness of the sun, all part of the precarious balance which reigns in the natural world. Nguyen harnesses these disparate influences and elements and brings about a state in which harmony and symmetry flourish.

    The hikes Nguyen has taken in different regions of the globe have a profound impact on his aesthetic sense, informing his use of colour, light and shape: “The salty scent of crashing waves, sheer canyons and cliffs rising and dropping in perspective, and the colors that only exists in the bright Southern California sun...these along with the floating clouds and stars in the night sky are the inspirations that guide me.” The dizzying and bare mountains of Asian scroll painting and the squat, enveloping mountain ranges of the Californian landscape are both identifiable in these mindscapes, as are the caves and hollow spaces under Vietnam – emerging through Nguyen’s heaped paint as primordial, sensual and almost anthropomorphic apertures, valleys and peaks.

    Nguyen’s technique is laborious and intuitive: “I begin with a layer of thick base oil under-painting, where I organize land masses, sky space, and water boundaries. The body of the painting appears when I begin to put in the texture. Adding paint and scraping it away builds the texture and reveals the colors.” He usually works on more than one painting at the same time, letting paintings pull him back to them to add features and then release him to drift onto the next painting. Weeks go with the application of layers and stripping away of others, but almost organically, they seemingly finish at the same time. Paint accumulates and with the repeated scraping forms strange ridged and stratified bodies. Floral elements also feature quite heavily, rendered in pointillist dots and quilt-work patterns reminiscent of Gustav Klimt’s friezes. Once all the layers have dried Nguyen applies glazes to each area to achieve the colors he envisioned.

    Visually and creatively, Nguyen’s landscape are like something awoken from our most ancient creation - myths. The division of the celestial and earthly spheres, as well as a further split into land and sea and finally the blossoming of plants and animals. Like some animistic force from Ong Troi, ‘The August Heaven’ of Vietnamese myth, he creates life and a place for it to live. Of this Nguyen says: “Nature is a sacred place; I always paint nature respectfully.”

    His reverence for his subject matter is unmistakable.
    - - -
    Artist Hung Viet Nguyen was born in Vietnam in 1957. He studied Biology at Science University in Saigon, Vietnam, then transitioned to working as an illustrator, graphic artist and designer since settlement in the U.S. in 1982. He developed his artistry skills independently, studying many traditional Eastern and Western forms, media and techniques. Nguyen’s complex, labor intensive investigations of oil paint reveal a methodical mastery of texture. While portions of Nguyen’s work suggest the influence of many traditional art forms including woodblock prints, Oriental scroll paintings, ceramic art, mosaic, and stained glass, his ultimate expression asserts a contemporary pedigree.

  • QUOTES:


    “One of the most difficult feats in art is to be joyful and innocent without being corny, and Hung Viet Nguyen pulls it off. In the cell-like forms I see the artist’s study of biology but also an echo—whether conscious or not—of the great Viennese painter Gustav Klimt.” - Dr. Malcolm Warner, Executive Director at Laguna Art Museum. (2012)

    "Nguyen's background in biology also taught him to perceive nature and life at a cellular level, a tendency he has also brought to his paintings. Although his landscapes are far from realistic, with their candy-colored palette and sometimes Seussian compositions, they abound with intricate details born of a keen attention to nature's exquisite patterns and textures. As an artist, Nguyen is largely self-taught, and over the years he has sought inspiration from the works of many masters. In his Mindscapes, in particular, we can see the influence of modern Western artists such as Klimt and even Chuck Close in his mosaic-like floral patterning, Van Gogh in his generous applications and sculpting of oil paint, and Hockney in his meandering landscape compositions and upbeat, sunny palette. "Some of the influences I only realized and found out after the artwork had been completed for awhile," he explains. "They were happening unconsciously." He has also looked to his Asian roots for inspiration, studying traditions as diverse as Chinese scroll paintings, Japanese woodblock prints and ceramic decoration.” – Meher McArthur, Asian Art Historian (2013)

    "Hung V. Nguyen’s detailed, jewel-toned landscapes, which he has called Mindscapes, seem fresh, direct, nearly child-like at first glance. Upon close inspection, the paintings recall many periods and places in art history, as well the influence of specific artists from many eras." - Karen Fitch McLean, Recreation Specialist - Art Show Coordinator, Community Services City of Beverly Hills. (2013)

    "...Perhaps the most remarkable aspect of these paintings, however, is how all of the disparate elements in the compositions achieve such unity as to make the landscape appear to be single anthropomorphic organism, with rubbery, writhing limbs possessed of weird kinetic life." - Ed McCormack, Gallery & Studio Magazine. (Apr/May 2007)

    "His landscapes are intricate, painterly, vibrant in color, and demonstrate not only the skill in his brush strokes, but also reveals a world of abstraction and curiosity which he pursues." - Ginger Van Hook, Photographer/Writer/Curator. (2011)