rate for artist4.5
Lê Duy Triệu is only known to very few people, because he belongs to a type of artists who work in complete silence.
In his studio as a small upstairs room in Tân Bình District, HCMCity he nurtures his feelings every day, because with him feelings are both the beginning and end of creativity.
Born in 1963 in a region of military and political contest between the Southern and Northern sides of the war, in Tam kì, Quảng nam Province of Central Vietnam before the end of the conflict in 1975, at the graduation from high – school Lê Duy Triệu had to choose the college of arts as a means to escape from that dilemma situation. From 1983 to 1991, he diligently made the transfer from secondary to college level and became a student at the High College of Arts of Hue, of great prestige in art teaching in Central Vietnam.
His major was silk-painting, a material considered as traditional in Vietnamese art.
His work with the title “Pilgrimage to the Perfume Pagoda” (Trẩy hội Chùa Hương, silk, 1990) makes a deep impression on many viewers.However, since his definitive move to Saigon in 1997, he has preferred to choose oil-painting.
He said “This material allows me better self-expression.”
He works continuously, but with a moderate rhythm ─ creating about 15 to 20 paintings each year, sometimes fewer. “More or less, only the constant research and work could maintain my continual feelings and their interruption also means the abandon of unfinished work, or at best an unsatisfactory one,” he informed us.
Since 2000, Lê Duy Triệu has paid much attention to abstract art.
His use of light in this medium shows the technical inheritance from his period of silk-painting and his thesis of “Lighting in Art”. In the end, his abstract work is for his own appreciation ─ and oil paintings are still his opening to his viewers, both near and far.
Lê Duy Triệu is an artist always looking forwards, and he considers his “finished works” as bygones, not to be in his mind any more. With that state of mind, he day by day enters his studio to contemplate the next steps for his direction. His concept is simple but interesting: “To paint is to live with one’s feelings.
If one’s work could bring these feelings to the viewers, that is beautiful and effective.”
from orient painting