A Life Between Two Cities
Born in Hanoi in 1963, Trương Tân grew up during a period of profound change in Vietnam. After studying at the Fine Art School Hanoi and later graduating from the University of Fine Arts Hanoi in 1989, he began his career not only as a creator but as a teacher. From 1989 to 1997, he shared his knowledge as a lecturer at the Vietnam University of Fine Arts. This time in the classroom allowed him to encourage a new generation of artists to look beyond the traditional subjects of birds, flowers, and landscapes that had long dominated the local scene.
His life eventually expanded to include Paris, and he now moves between the familiar streets of Hanoi and the atmosphere of France. This dual existence has shaped a practice that refuses to be confined by a single geography or a single way of seeing. He moved away from the academic styles prevalent in Vietnam following the Doi Moi reforms, choosing instead to explore the deeper, often difficult, layers of human psychology and social reality.
Breaking the Surface
The early work of Trương Tân was marked by a raw, graphic energy. Using black-and-white styles that some compared to street art, he experimented with materials that were far from conventional for a university exhibition. In 1992, his pieces titled Mirror and
As his practice matured, he began to use traditional Vietnamese mediums in ways that subverted their usual purpose. In works like Red Dreaming (2008) and How to be an Angel (2008), he used lacquer to explore themes of social status and virtue. His approach often involves flattened forms and simple contours, yet the subject matter remains heavy with meaning. He has also worked extensively with:
- Painting and drawing
- Sculpture, such as the iron chains and feathers used in The Wedding Dress
- Ceramic objects
- Multimedia installation and performance art
- Ink drawings exploring the male figure
Identity and Expression
Much of Trương Tân’s work is deeply personal, rooted in his own experience as an openly gay man living within a conservative society. He has used his art to address the complexities of sexuality, gender stereotypes, and the tension between private desires and public expectations. This honesty has sometimes come at a cost; some of his paintings were confiscated by authorities, and certain works were refused public viewing due to their messages regarding traditional family values.
Despite these pressures, he has continued to investigate themes of oppression, prejudice, and the struggle for freedom of expression. His work often looks at how national identity intersects with individual truth. Whether through the erotic ink drawings of his Being Human series or sculptures that use heavy metal to represent societal weight, he seeks to find a language for the human condition. His influence can be seen in the way he bridges the gap between ancient iconography and the bold, graphic influences of artists like Keith Haring and Basquiat.
