My name is Nguyễn Trường Linh. I am a Vietnamese painter who has devoted his life to the practice and preservation of traditional natural lacquer (sơn ta). Born in Hanoi in 1971, my childhood was closely intertwined with Cầu Gỗ Street—a historic area where memories of old Hanoi, along with the distinctive presence of raw lacquer, quietly shaped my sensibility and guided my artistic path. Early recollections of my grandmother’s work trading lacquer resin planted within me a deep and enduring affinity with this material, long before I consciously chose it as my medium.
After graduating from the Vietnam University of Fine Arts and completing my postgraduate studies, I began teaching at the Hanoi College of Arts, where I currently serve as Head of the Fine Arts Department. Alongside my academic work, I founded and continue to lead the Vietnamese Natural Lacquer Painters Group, a community dedicated to the exchange, preservation, and contemporary development of traditional lacquer art.
In my artistic practice, I remain faithful to the use of authentic natural lacquer, respecting its traditional processes while exploring its expressive potential in a contemporary context. My works often move between abstraction and folk-inspired imagery, seeking a dialogue between tradition and modernity. I am particularly drawn to the image of the Long Biên Bridge—not only as a historical landmark, but as a living space shaped by everyday human presence—as well as to the people and landscapes of regions I have encountered throughout my journeys.
A quiet sense of nostalgia runs through my work. Rather than narrating directly, I attempt to evoke memory and cultural continuity through layers, textures, and the depth inherent to lacquer. Beneath each polished surface lies a personal reflection on time, impermanence, and the desire to preserve cultural values that are gradually fading in the contemporary world.
Experimentation plays an essential role in my process. I do not always seek smoothness or perfection; instead, I often allow the surface to remain uneven, textured, and tactile, creating a distinct visual and emotional resonance. The inclusion of unconventional materials within the lacquer layers introduces elements of chance, revealing unexpected forms and hidden beauty through the repeated acts of sanding and polishing.
I view art as a continuous journey of learning. Recently, I had the opportunity to conduct research on Urushi art at Tokyo University of the Arts (Japan), an experience that broadened my understanding of lacquer as both a shared cultural heritage in Asia and a living, evolving medium.
Through my works, I invite viewers to engage with lacquer not only as a material, but as a space of memory – where tradition, personal experience, and contemporary expression quietly converge.
Nguyễn Trường Linh 