Fields of Resonance

〰️

Fields of Resonance 〰️

Like a sky breeze (Làn gió trời xanh), 2026, quartz, crystal on stone, 19 x 13 x 23 cm

Tia-Thuy Nguyen’s third solo exhibition with Almine Rech gallery, on view from August 28 to October 31, 2026.

I paint my inner resonance…

Rather than asserting a singular perspective, Tia-Thuy Nguyen surrender to the infinite experience of nature. Light, time, and sensation mutate; space becomes alive. There is no central subject here - only coexistence driven by an interconnected energy. These are not static objects, but dynamic energy fields; not fixed viewpoints, but a multiplicity of perspectives. They are wind, cloud, sky, freedom, and emotion in perpetual motion.

Intricate bead embroidery lends the clouds a sculptural presence, transforming the canvas into a richly textured terrain. As the viewer’s gaze drifts across its surface - rising and falling through densely layered forms, passing from shadow into light - looking becomes a journey through the cloudscape itself, where each shift in perspective offers the possibility of another opening in the sky.

Fairer than a fairy (Sắc mây tiên cảnh), 2026, embellishment on canvas, 200 × 300 cm

The quartz sculptures mark a development from the works shown in Burdening Dream exhibition. These (mosaic) sculptures materialize the perpetual cycle of water and energy. Deliberately using solid quartz and steel to express the ephemeral nature of clouds and rain, Tia-Thuy Nguyen created a highly intentional visual paradox. The friction between the rough stone and the illusion of weightless air forms an endless energy loop, anchored by the supporting “raindrops” and the mirrored base. As steel raindrops visually “evaporate” into shimmering clouds, the reflective surface invites a moment of profound introspection: viewers catch a glimpse of themselves suspended within the work, momentarily untethered from the heavy burdens of existence.

Sky at nightfall (Màn đêm buông xuống), 2026, stainless steel, 30 × 30 cm

Tia-Thuy Nguyen works with materials that span strikingly different qualities. Alongside delicate materials such as beads, sequins, thread, and quartz - materials that invite careful handling - she also works with stainless steel, a material capable of withstanding time and the elements.

The pause between storms #1-3 (Quãng tĩnh chờ giông #1-3), 2026, stainless steel, 30 × 30 cm

“By hand-weaving stainless steel, I force industrial rigidity into a direct dialogue with femininity. Steel is inherently cold and masculine; taming this abrasive medium through the fluid, delicate act of weaving demands meticulous physical dedication. This meticulous, physical dedication ultimately forces the metal’s rigidity to yield to the sheer endurance of the hands. Through this, I assert the inner resilience of the female artist: the capacity to transform the most unyielding materials into floating, weightless apparitions.” — Tia-Thuy Nguyen shared.

Enduring vitality (Sinh lực trường tồn), 2026, stainless steel, 760 × 265 cm

The ancient tree is typically an archetype of “bearing weight” - deeply rooted and bridging earth and sky. Enduring vitality (Sinh lực trường tồn) breaks from this confining mold. Suspended in mid-air, the sculpture evokes a profound sense of wandering and absolute weightlessness. Relocating the tree into a purely aesthetic realm, where it finally lays down its burdens, serves as a poignant metaphor for women: beneath the facade of sacrifice and resilience lies a deep yearning to shed external pressures and embrace a gentle, weightless freedom.

Ultimately, I hope viewers discover that peace is not confined to stillness; it can be a radiant, celebratory state - a profound beauty found within the storm