I am a British-born Vietnamese interdisciplinary, site-responsive artist working across performance, visual art, sculpture, installation, and design. My practice examines how we inhabit and internalise space, treating the body as both subject and material. Materials and objects are not passive props but active agents in the construction of identity and memory.

At the centre of my practice is a series of poetic iterations of archetypes: recurring patterns in human behaviour in relation to material culture. By placing myself in specific situations, I rework these patterns toward alternative outcomes, revealing not only their expected meanings but also the wider range of unintended roles that bodies, materials, and objects can perform. James J. Gibson’s theory of affordances—the action possibilities that an environment offers a body—frames this inquiry. Space does not merely contain the body; it conditions what the body can do, dictating what is invited, permitted, or refused. My work stages these affordances to probe the boundaries of space, identity, and belonging.

A key shift in my practice occurred when I moved to China in 2021. There, I realised that my artistic practice resonated with the Chinese art movement xíngwéi yìshù (行为艺术), literally translated as “behaviour art.” Behaviour refers to how a person acts or reacts in relation to their surroundings; in this sense, it is situation-based. This resonance is underpinned by my training and experience: a degree in Fine Art Sculpture (University of Southampton–Winchester School of Art, UK) grounded me in material thinking; my previous experience teaching in the Department of Architecture at Xi’an Jiaotong-Liverpool University, China, exposed me to spatial systems and vernacular design; and a Master’s in Performing Public Space (Fontys Academy of the Arts, Netherlands) taught me to challenge the body under real social and legal conditions.

Underpinning this is a daily performative discipline. I wear only black, a self-imposed uniform that reduces the body to a consistent surface. Moving through public space, I remain alert to the everyday. Walking becomes a responsive act. When a moment of potential arises—a negotiation with space—I respond with a photographic performance. The camera does not merely document; it registers a trace of an ongoing ecology, testing the everyday for its possibilities.

My practice is continuous and open-ended. I treat performance as a relational ecology of possible actions in which body, material, and space are perpetually renegotiated. My work invites viewers to witness the body not as a fixed essence but as a site of becoming, where culture is lived and contested, and where being oneself is a radical, performative act.

2026

‘Wearing Several Hats’
Non La - Leaf Hat (2015 | 2025) Private Collection

Exhibited at “Dạ Lửa – Womb of Fire”, featuring 100 works by Vietnamese and diasporic Vietnamese women artists. Initiated by curator Đỗ Tường Linh, with the support of Nguyễn Vũ Thiên An and Carmen Cortizas Fontan, the project focuses on researching, archiving, and presenting diverse artistic practices. ‘

Vin Art Gallery & Mo art Space
Ho Chi Minh City & Hanoi. Vietnam