Five Questions with Artist Kenny Nguyen and Gallerist Wright Harvey

Kenny Nguyen: I often call myself a painter, but I work with different mediums such as painting, sculpting and installation. I grew up in Vietnam, where I was trained as a fashion designer, and moved to the United States quite early in my career. True to my education and training, I work with fabrics, using a great deal of painting and fashion techniques to construct my work.

Silk is one of the most important aspects of my work, and I am dedicated to silk due to my training as a fashion designer. The region where I come from is the Mekong Delta region, which is historically known for its silk villages where natural silk is produced from silkworms. When I moved to the United States, I often asked myself what reminds me of Vietnam. In this sense, the material I work with becomes very personal, as a reminder of my homeland.

Wright Harvey: When I first encountered Kenny’s work, I immediately knew that I was looking at an artist who was a master of their materials. Additionally, Kenny’s materials are inherent to the philosophy of his work, and deeply meaningful to how he creates. The work is mesmerizing, and new. I had never seen anyone express their ideas in a similar way. And yet, Kenny’s work connects to a historic cannon of works in terms of colors, sculpture, and connection to the natural world.

KN: I was first approached by Wright after he saw my work on Instagram. I had just finished an artist residency, and was promoting my work on social media. I received an email from Wright who was interested in a studio visit. About one month later, I was contacted by Wright about a group show opportunity at Sugarlift Gallery. We later traveled to a series of fairs such as Seattle Art Fair, San Francisco Art Fair, and Art Market Hamptons.

KN: I am based outside of Charlotte in Concord, North Carolina. Concord is home to many old textile mills, and while this industry is no longer in operation, many of these mills have been converted into contemporary lofts, co-working spaces, and coffee shops.

My studio exists in one of these former factories, and I appreciate the small details such as the flooring, large windows, and natural light. There is also a great deal of space here, which expands my capacity to make large scale works.

KN: The process of making work begins with cutting silk. I use raw silk with no color, which is almost transparent, but has an incredible shine. I cut the raw silk into strips of different lengths and sizes, which are then soaked in acrylic paint. This is a very quick process where attention to detail is needed to make sure the fabric is being dyed properly. The quick nature is also needed to attach strips of wet silk onto a canvas before these materials harden.

As I create these large scale works on the floor, they take on an entirely new form once installed on the walls – a process that adds a third dimension and transforms these paintings into sculptures. What drives me to complete a piece is this mystery. I won’t know how a work will look until it is finished and installed as a sculptural object. It’s a process of many steps, but you can see the painting, the weaving, and the sculpting in the final works, which I believe is unique for a finished work to show all of its processes.

Each time my works are installed, they become a new piece. When I install these works, I need to listen to the material, understand how it falls and sculpts. The beauty of these canvases are their capacities to be transformed. However, you can always see its material composition, especially from new angles.

KN: The work for The Set was commissioned specifically for the project. The way I sculpted this work was less dramatic compared to other pieces. It was the placement of the work that allows individuals to enjoy the piece from all directions. The space always impacts how individuals interact with, and think about a work of art.

WH: These collaborations between artists like Kenny, MAWD, and Sugarlift that result in projects like The Set are important, and aligned with Sugarlift’s mission to grow new audiences, and provide new opportunities for individuals to be exposed to great work.

Within a context such as a residential setting, a work by Kenny is not only captivating, but might encourage someone to slow down, and enjoy the moment. Perhaps, you take a moment to view the piece, and think about the ideas behind the work. While a work might brighten someone’s day, we hope that individuals experience a new curiosity and appreciation for contemporary art and its makers.