Today we’d like to introduce you to Quang Duy.
Hi Quang, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
I started studying art professionally at the age of 16, and today I am pursuing my path as a PhD researcher in art studies and fine arts. For me, painting has never been just a profession or an academic field — it has always felt like an inseparable part of who I am. After many years of studying, practicing, and creating artworks, I also wanted to challenge myself in new creative directions, including poster design and digital art.
However, one thing has remained constant throughout my journey: my desire to bring Vietnamese folk artistic materials and visual culture into contemporary forms. By reconstructing and combining traditional Vietnamese aesthetics with the Western artistic knowledge I gained through formal academic training, I aim to create works that preserve a strong sense of Vietnamese cultural identity while also feeling modern, accessible, and relevant to younger generations and contemporary audiences.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
In my view, no path is ever completely smooth. What matters more is whether we are truly willing to pursue our goals, commit ourselves, and do the best we can, rather than placing too much emphasis on the final outcome. I have always believed that the most important thing is to focus on doing the best with what we have in the present moment, while trusting that achievements will naturally come through effort and continuous growth.
When transitioning from traditional easel painting to digital art, I found certain advantages because, at their core, both belong to the field of visual arts and share fundamental elements such as visual thinking, composition, color, and aesthetic expression. However, there were also many challenges, particularly in learning new workflows, becoming familiar with digital tools and software, and adapting to the unique aesthetic standards of digital art, which differ in several ways from traditional painting.
Even so, I believe that only by truly beginning something new can we recognize our own shortcomings. Every stage of the journey becomes an opportunity to learn, gain experience, and gradually refine both our skills and aesthetic perspective.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
Currently, I am a PhD researcher in fine arts and painting, and my doctoral dissertation topic is deeply rooted in Vietnamese culture: the influence of Eastern and Western visual elements on Vietnamese lacquer paintings from the early 20th century to the present day. For me, this is not only an academic subject but also a way to better understand the visual identity of Vietnamese art within the context of cultural and historical exchanges.
People know me primarily as a painter, and my favorite artistic medium is Vietnamese lacquer painting. In my view, Vietnamese lacquer possesses unique characteristics that distinguish it from lacquer traditions in other Asian countries. It is not merely a technical material, but one that carries strong expressive qualities and a distinctive visual language that few other artistic media or national traditions can fully replicate.
At this stage of my journey, what makes me most proud is that my research project is progressing well and meeting the level of quality I aspire to achieve. I would feel incredibly proud to successfully defend my PhD dissertation because, in some way, I hope it can contribute to helping the world understand and recognize Vietnamese lacquer painting more accurately and comprehensively. Vietnamese lacquer has long surpassed the boundaries of being simply a surface coating used for decoration or wood preservation. Over more than a century of development, it has evolved into an independent painting medium with its own visual language, and it continues to grow and adapt to meet the demands of contemporary visual art around the world.
What I believe sets me apart is that even while studying and conducting research abroad, I continue to carry Vietnamese cultural values with me — particularly Vietnamese painting and traditional visual arts. I hope to transform these values into a meaningful academic research project developed in an international environment, as a way of contributing a Vietnamese artistic perspective to the global conversation on art.
Before we let you go, we’ve got to ask if you have any advice for those who are just starting out?
If I could give one piece of advice to those who are just starting out, I would say that nothing is ever truly easy, but at the same time, no challenge is impossible to overcome if you genuinely love what you do. When you truly care about your work or the path you choose to follow, setbacks no longer feel like failures — they become valuable lessons for growth. Likewise, every success, even in a small experiment, can bring genuine happiness and become motivation to keep moving forward.
Looking back at the beginning of my own journey, one thing I wish I had done more was spend additional time exploring, experimenting, and allowing myself to experience more. I also wish I had the opportunity to visit more art museums around the world earlier in my career. In my opinion, standing directly in front of an artwork in a museum is a completely different experience from simply viewing it through images. When you truly encounter an artwork in person, you can feel its scale, materiality, surface, visual energy, and even its spirit in a much deeper way. It is an experience that can transform how we understand art and how we approach our own creative process.
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