Nguyen Quang Minh

Playing with buffaloes

Playing with buffaloes

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Two sisters

Two sisters

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Late afternoon

Late afternoon

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Going to school

Going to school

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Children's song

Children's song

Oil on Canvas

80 x 130 cm | 31.5 x 51.2 inches

Traditional game

Traditional game

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Lotus season

Lotus season

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Playing music

Playing music

Oil on Canvas

70 x 80 cm | 27.6 x 31.5 inches

Nguyen Quang Minh

The attraction of shaping lovely charaters as dolls in Nguyen Quang Minh’s paintings is highlighted because of their features such as: small eyes, tails, willow leaves which make the viewers can not stop staring. The rural girls are oustanding with flexible moves such as: dancing, taking the flute or a bunch of flowers on their hands; these girls are gentle and elegant like urban girls or poetry and romantic like the faries in the folk stories. The background color in each painting always changes clearly, the color in the magic space – a non-contextual space but fulled of emtions. The artist’s brushstrokes show a lovely rebel combined with a smooth influence from folk drawings and illustration pictures to create a very unique “naïve” art style. Nguyen Quang Minh was born and grown up in the 70s of the twentieth century. Like the writers and artists of his generation, his childhood was linked to the rural life topic: the fields, the buffalos enjoyably and slowly eating the green grass, the green trees, the realistic landscapes and scenic in his mind. In particular, the sound of flutes are emphasized in many art works as a reminiscene in the endless world. Each time the viewers enjoy watching paintings of the artist Nguyen Quang Minh, it is also a chance for each person to see an imagine that has passed away but now maybe it has just stayed in our mind.

NGUYEN QUANG MINH

Born in Hai Duong Province in 1970 

Member of Hanoi Fine art Association

 

EDUCATION

2004 Master of Fine Art, Hanoi Fine Art University 

1994 Graduate Diploma of Art, Hanoi Fine Art University

 

EXHIBITIONS

Selected solo exhibition 

2005 Vietnamese Art Exhibition, Mebourne, Australia 

1999 Mai Gallery, Hanoi 

1996 Hoa Sen (Lotus) Gallery, Hanoi.

 

SELECTED GROUP EXHIBITION 

2010 Group exhibition in Singapore 

2008 Group exhibition in Hanoi 

2007 Group exhibition in Thailand 

2006 Viet Land Hamorny, Frankfurt am Main, Germany 

2005 Hanoi Fine Art, Hanoi 

2003 Vietnam, Switzerland 

2002 Sweden Embassy 

CoDo (ancient capital) Gallery, Hue 

2001 Avil Israel, Israel 

2000 Contemporary Exhibition 

1998 ASEAN Vietnam exbition, Hanoi Fine Art, Hanoi 

1994 National wide student’s exhibition, Hanoi Fine Art, Hanoi 

2016 “At the hind sight” exhibition at Green Palm gallery, Hanoi, Vietnam

 

Minh’s work is no child’s play 

by Phan Cam Thuong 

Nguyen Quang Minh’s work breathes innocence even when he wants to express mature philosophical thought. 

Strictly speaking,  his is a not style of painting, nor is it inspired by truly innocent ideas, rather it is a metaphor used by the artist to express his outlook on life in a candid, unsophisticated way 

It is more a case of “children’s songs”-those incoherent free verses of buffalo boys, which often foretell major socio-historical events. 

Born in 1970 in Hai Duong Province, Nguyen Quang Minh graduated from the Hanoi Fine Arts College in 1994 and is now teaching at the Center Music and Painting Teachers’ Training College. 

However, what he was taught and indeed is now teaching has little to do with the painting style he has chosen. His imagery-women and children, flowers and grass, cows and buffalo-is rendered by generalised, linear figures in minimalistic way. 

Unmindful of tense scenes and never bothering with describing events or minute detail, his work comes across a game, like children scribbling on the ground, with only the combination of fairly refined colours and use of shades testifying to the artist’s skill. 

One thinks of Le Thiet Cuong or Pham Thang Long whose styles are not far from what we see here. 

However, the ripeness of these two artists’ styles creates something quite different from the youthfulness and sub themes found in the works of Nguyen Quang Minh – who has no intention of circumscribing his painting with a truism.