Le Quynh Anh received her Master's degree in Fine Arts Practice from Vietnam University of Fine Arts in 2020. Since her early twenties, she has moved frequently between Vietnam and Japan, absorbing diverse influences from the aesthetics, cultures, and painterly traditions of both. This cross-cultural dialogue has shaped her artistic language as a point of convergence between Eastern sensibilities and contemporary artistic thought.

The works presented in this exhibition reflect two successive phases in Quynh Anh's artistic practice. The first emerged from her experiences of Japanese cities and landscapes, where the contrast between the vibrant rhythms of Shibuya and Shinjuku and the quiet expanses of Fukui and Kobe was distilled into simplified imagery and the rhythm of light. Rather than depicting specific places, the artist preserves memories of place through sensation, the movement of the brush, accumulated layers of colour, and pictorial surfaces that become shifting frames suspended between recollection and the present. In the subsequent phase, Quynh Anh further extends her abstract language toward the philosophy of “yi xing xie shen” (using form to express the spirit) articulated by the renowned Chinese painter Gu Kaizhi (c. 344 - 406). This concept emphasizes employing outward form and line to reveal the inner essence of the subject. Here, the artist almost completely liberates the image from its descriptive function in order to express mindscape – an inner state of mind shaped through the resonance between landscape, the painter, and the viewer alike. Colour, light, and the rhythm of her brushwork therefore no longer depict a way of seeing the world, they become that inner world itself.

Across these two phases, Quynh Anh's practice reveals a continuous movement from landscape to sensibility, opening a path from memories of place toward the intangible nature of emotion.