Connections 2023

H. Nguyen, an Australian-Vietnamese artist, engineer, social entrepreneur and aviator.

Huy style of art is focused on a range of charcoal and watercolour pieces. Huy’s main focus for his work is the practice of life-drawing. This is a technique that values connection to others and a deeper connection to self. He experiments with form, choosing to focus on process and connection. The result is pieces focused on movement and emotional colour. Through his art, Huy’s main drive is connection and the learning that brings. It is through this motif he hopes to create a personal and relatable space to share.

Each frame is handpicked from op shops, with the aim to remove the potential for unnecessary waste and to obtain something both unique and personal. It is a painstaking activity of collecting, matching frame to artwork, and contrasting colour, size, and shape to complete a piece. Though watching the character of a second-hand frame embellish whatever creation it holds, is all the reward.

There is a deliberate effort to create in a physical form whilst in a largely digital era. Traditional techniques, unlike digital ones, focus on the personal, the physicality, and the sheer challenge. Engaging with life drawing lends Huy the opportunity to capture the connection he is experiencing. Huy acknowledges that he has learned to commit to a piece, knowing it takes time to engage with this style of art. Being a purist, investing time, the most precious resource we have, and using it liberally in art. Due to this practice honouring Huy’s personal beliefs, the time spent, no matter how long, feels like a worthy time.

Selected pieces from the Connections Debut Solo Art Exhibition

1. Our first encounter: Federica

Charcoal life drawing
POA, 1.8.22

The transformation of impactful meetings, that stir the warm thoughts of connection. This is our first meeting. We established a connection through this gaze, held for ten minutes though it felt like much longer. This allowed us to establish the beginning of our relationship, through wordless communication. I was left with an alluring positive energy, a buzz, a knowing.This pose captures the softness whilst also stamping in time the moment that is so important on reflection. As time together fattens and grows, so does the way we create. The impact of getting to know one another, the discussions and fondness; all allows for trust, relaxation and in turn, invites the promise of an ever changing muse.

Emma was someone I had previously drawn in charcoal, it was a wonderful progression to draw her in watercolour and represent that shift in connection built by our second meeting. This piece represents my acceptance of colour and removes the notion of mere experimentation. Marking my move as I delve further into a new chapter of expression and understanding of a practice that is always morphing in form.

2. Emma

Water colour life painting
POA, 9.1.23

Emma was someone I had previously drawn in charcoal, it was a wonderful progression to draw her in watercolour and represent that shift in connection built by our second meeting. This piece represents my acceptance of colour and removes the notion of mere experimentation. Marking my move as I delve further into a new chapter of expression and understanding of a practice that is always morphing in form.

3. Amber-Rose

Charcoal life drawing
(Acquired), 20.11.22

Woman on chair, an experimentation with warm spotlight and the sinking afternoon sun.
Amber-Rose encapsulates constant engagement and discovery; discovering music together, food and ideas, whilst forging a strong relationship. As a subject, due to our knowing of each other, this session was relaxed and prompted me to experiment with the incorporation of a solid black shape.
Together, we co-world from two vastly different places, bringing forth newness and connection in the simplest form. A steady foundation that has been honed by a year of working together. This is the third drawing of Amber-Rose, leaning into more experimentation on the abstract and is one that I pushed through to completion. This piece is my truest depiction of Amber-Rose, the other two prior resemble just a woman, a model. It takes the foundation and the process of knowing someone to immortalise their true form in art.

Ruby draws forth an incomparable connection that is best described in three stages.
A meeting that billowed into a rich connection brought with it the feeling that anything could be done. Personifying connection largely through the capture of movement, found through the intense experience of an instantaneous bond. This is the first non-human piece I have engaged with and it aims to encapsulate the freedom and wildness of the subject. Translating the deepest connection onto paper and ultimately, foreshadowing the uncertainty of the relationship. There is an ambivalence to this bond and so much I wish to understand still.

4. Ruby

Charcoal
POA, 17.11.23

Ruby draws forth an incomparable connection that is best described in three stages.
A meeting that billowed into a rich connection brought with it the feeling that anything could be done. Personifying connection largely through the capture of movement, found through the intense experience of an instantaneous bond. This is the first non-human piece I have engaged with and it aims to encapsulate the freedom and wildness of the subject. Translating the deepest connection onto paper and ultimately, foreshadowing the uncertainty of the relationship. There is an ambivalence to this bond and so much I wish to understand still.

The second horse began with expressivity and further experimentation with watercolour as the primary medium, before feelings of conflict arose. In this depiction, the animal is in frenzied movement; symbolic of the disarray between artist and subject at the time. There is hesitation in this horse, evident in its direction; it is in motion now but won't be for much longer.

5. Conflicted

Watercolour
POA, 6.1.23

The second horse began with expressivity and further experimentation with watercolour as the primary medium, before feelings of conflict arose. In this depiction, the animal is in frenzied movement; symbolic of the disarray between artist and subject at the time. There is hesitation in this horse, evident in its direction; it is in motion now but won't be for much longer.

The third piece is the New Year horse, following a night of reflection work as the old year rolled over. This brought acceptance that some things come to a halt, some are unintelligible and these are things to let go of. Exploring the struggle to find balance, to find grace in welcoming the slow and in embracing the closure that comes from letting things be.

6. Letting Go

Watercolour
POA, 7.1.23

The third piece is the New Year horse, following a night of reflection work as the old year rolled over. This brought acceptance that some things come to a halt, some are unintelligible and these are things to let go of. Exploring the struggle to find balance, to find grace in welcoming the slow and in embracing the closure that comes from letting things be.

7. Clouds

Charcoal and pastel
(Acquired), 12.8.22

My lounge room has a wall of glass panels that opens to a view of the elements as they hold and pass. The clarity of the sky when it is bare and cloudless, marked with birds that drop by; is a stranger to the sky that shudders in greys and blacks. This piece comes from watching out the window in a state of mental disarray, craving the weather to mirror it.
I hope to communicate both a vulnerability in the woman and a strength in this submission to release all emotion.

8. Shibari

Charcoal life drawing
POA, 12.10.22

‘Shibari originated from Hojo-jutsu, a method of restraining captives and a form of torture, before morphing again into the erotic bondage Kinbaku (Kinbaku-bi literally translates as “the beauty of tight binding”) in the late 19th and early 20th centuries.’ - Shibari, pushing boundaries in the ancient Japanese practice of knot tying - The Guardian.

I found the kink Shibari community through life drawing. It is an oasis of discovery when finding such an open-minded group, especially after feeling different or estranged from other aspects of society.

This is the process of trust, with a high level of communication and skill necessary to ensure the person who is tied feels safe and empowered. There is a tenderness in the process, explored through the care and the formalities of it.

This piece attempts to capture the softness. He was the rigger, and the relationship between him and the model demonstrated the care and experience of this historical art form. This is an old technique used for restraint and capture. Understanding that, challenging the harshness of Shibari history with the tenderness and consent that is exchanged now.

9. Expressions

Watercolor painting
(Acquired), 4.1.23

10. Rosa

Watercolour life paiting
POA 13.1.23

I aimed to capture Rosa’s life force, her inarguable presence, her glow. Rosa is multifaceted, her internal groundedness melds with the assumed fierceness of her external. With focus on the unique markings that she has chosen, I hope to portray her striking surface expression whilst the internal presses through in rosy hue.The colour as her namesake paired with the strong stance, brings body and strength to the softness of the colour. Rosa holds space as an almost ethereal being, I was immediately encapsulated by our stimulating conversation and a meeting that flowed with ease.

This marks the point where we have become good friends, the playfulness captured communicates the notion of knowing her. A depiction of my interpretation of what she is expressing. This was a rapid technique with focus on capturing, ensuring I am using only purposeful and expressive strokes. This pose was part of a quickfire session with focus on creating something beautiful from an unconventional session.

11. Fede the banana

Charcoal life drawing
POA, 8.11.22

This marks the point where we have become good friends, the playfulness captured communicates the notion of knowing her. A depiction of my interpretation of what she is expressing. This was a rapid technique with focus on capturing, ensuring I am using only purposeful and expressive strokes. This pose was part of a quickfire session with focus on creating something beautiful from an unconventional session.

Gizem and I met in 2018/2019 during a class in Singapore. In her, I noticed an observant individual and the notion of an old soul in a new body. When we re-met years later we connected through the creation of this portrait. Sharing stories of personal growth, experiences, understanding, and the process of accepting who we are. This captivation of rediscovering a fondness or a knowing of someone and communicating that in the creation process.

12. Gizem

Charcoal life drawing
POA, 2.1.23

Gizem and I met in 2018/2019 during a class in Singapore. In her, I noticed an observant individual and the notion of an old soul in a new body. When we re-met years later we connected through the creation of this portrait. Sharing stories of personal growth, experiences, understanding, and the process of accepting who we are. This captivation of rediscovering a fondness or a knowing of someone and communicating that in the creation process.

13. Federica

Charcoal life drawing and fabric
POA, 27.11.23

Our first private session together and one of my first ever. I wanted to communicate what Fede was like; what gives her the energy that she has, the presence. What I learnt about her was her love for dance and music, teased out through conversation. I wanted to know what kind of colours she resonates with, these were vibrant colours. With that in mind we set up a pose that would allow for the continuation of movement, the addition of a dress or fabric. An attempt at drawing a dress didn’t allow for enough volume or expression. I then tried mixed mediums, paper, tissue paper and then finally, I tried fabric. I feel that the result brings colour and abstractness. Fede has such a wonderful, strong, empowered personality, my aim was to immortalise that in this piece.

14. Nadia

Charcoal life drawing
POA

15. Federica in colour

Watercolour life painting
POA, 20.12.22

16. Alice life painting

Watercolour life painting
POA, 4.2.23

This pose allowed us to loosen up, engaging with play. It is a privilege to do more one on one life drawing as opposed to being in classes because you get to build on that interaction with who you’re portraying. In the beginning, it was often left to the model’s experience of posing, as we get more comfortable, I am learning to ask for certain poses and make suggestions. These sessions are becoming a more collaborative process, though being able to interact with the model is still a very novel thing.

Amber immediately inspired me with her otherworldly colour. Bright hair, bright energy and colourful expressions that are embellished by the fabrics she adorns. Our meeting threw me into the exciting newness of creating with vivid colour. We collaborated to make this piece, Amber would name a colour and I would interpret that through pose and shade.
This meeting came at the perfect time to encourage the pursuits of creating in colour and the newness it lends.

17. Amber Scates

Watercolour life painting
POA 21.11.22

Amber immediately inspired me with her otherworldly colour. Bright hair, bright energy and colourful expressions that are embellished by the fabrics she adorns. Our meeting threw me into the exciting newness of creating with vivid colour. We collaborated to make this piece, Amber would name a colour and I would interpret that through pose and shade.
This meeting came at the perfect time to encourage the pursuits of creating in colour and the newness it lends.

18. Kate Streader

Charcoal life drawing
POA, 24.1.23

This marks our first meeting and a more recent drawing. Kate’s composure and pose is so intense and her presence alluring. When drawing Kate it felt dramatic, the mood and the energy she brought to the room required focus, especially when drawing her expression. I attempted to capture her intensity in the most concise and simplistic way I could. Honing onto the key essence of her strength, with attention to her features, I attempted to translate the entirety of Kate. Using minimal lines and strokes to capture her and allowing for the blank space to accentuate what is the focus. Kate has deep, intense features, deep set eyes, a strong chin; features that draw the observer in. The aim of the piece was to depict Kate in her power and create something that captivates you.

This marks our first meeting and a more recent drawing. Kate’s composure and pose is so intense and her presence alluring. When drawing Kate it felt dramatic, the mood and the energy she brought to the room required focus, especially when drawing her expression. I attempted to capture her intensity in the most concise and simplistic way I could. Honing onto the key essence of her strength, with attention to her features, I attempted to translate the entirety of Kate. Using minimal lines and strokes to capture her and allowing for the blank space to accentuate what is the focus. Kate has deep, intense features, deep set eyes, a strong chin; features that draw the observer in. The aim of the piece was to depict Kate in her power and create something that captivates you.

19. Kate Streader

20. Woman with red hair.

Charcoal life drawing
POA, 1.8.22

This piece is one of the first sessions of re-engaging with this form of creating. Continuing to uncover the connection to life drawing that allows for the deepening of method and new expressions of self. A pivotal moment for remembering creative expression and tapping back into self. The focus of this piece was on the subject’s red hair and though I was not engaging with colour yet, the shape and attention to her hair indicates the beginnings of my attention to colour.

The woman in the peace-lily dress, grown from the battle of tending to Luciana-May, the dramatic and opinionated house plant. Finding inspiration and muse in immediate surroundings is a new challenge. Drawing from the daily demands of my peace lily, inspired the colour and gown while the name inspired the woman. Personifying a plant as the feminine.

21. Luciana May

Charcoal and pastels
(Acquired)

The woman in the peace-lily dress, grown from the battle of tending to Luciana-May, the dramatic and opinionated house plant. Finding inspiration and muse in immediate surroundings is a new challenge. Drawing from the daily demands of my peace lily, inspired the colour and gown while the name inspired the woman. Personifying a plant as the feminine.

22. Federica in life

Charcoal life drawing
POA, 2.10.22

One of our earlier long poses at a life drawing class.

This process, of life drawing, connects to me. Tugging out a presence and a softness, to sit quietly and observe. Switching to a more expressive method as is found in life drawing, this piece encapsulates the moment of discovering a part of me.

There wasn’t a decided intention in the process of this work but through the submission to quiet observation, the direction became clear and carried through to this result. The focus on form creates ambiguous imagery, following lines and shape rather than capturing character. This guided my understanding and alludes to the magnetism of the ever-changing process of life drawing and the lessons and growth it allows.

Fighting with time meant working with quick lines to give form and honing into what matters most to me, facial expression. This indicated my efforts to use lines sparingly as a precious resource designed to allude to the viewer with purposeful focus on scarcity.

23. A new phase

Charcoal life drawing
POA, 1.8.22

This process, of life drawing, connects to me. Tugging out a presence and a softness, to sit quietly and observe. Switching to a more expressive method as is found in life drawing, this piece encapsulates the moment of discovering a part of me.

There wasn’t a decided intention in the process of this work but through the submission to quiet observation, the direction became clear and carried through to this result. The focus on form creates ambiguous imagery, following lines and shape rather than capturing character. This guided my understanding and alludes to the magnetism of the ever-changing process of life drawing and the lessons and growth it allows.

Fighting with time meant working with quick lines to give form and honing into what matters most to me, facial expression. This indicated my efforts to use lines sparingly as a precious resource designed to allude to the viewer with purposeful focus on scarcity.

This piece is my first line drawing in pen, I submitted to the new experience, allowing the swirls, lines and pace to capture the mood. This pose gave an opportunity to lean into the pursuits of capturing form and adding volume. This style needs constant correction and drawing over, emphasising particular areas to strengthen and give weight to something. There is no erasing which means applying more attention to the definite lines.

24. Swirls

Sepia pen life drawing
POA

This piece is my first line drawing in pen, I submitted to the new experience, allowing the swirls, lines and pace to capture the mood. This pose gave an opportunity to lean into the pursuits of capturing form and adding volume. This style needs constant correction and drawing over, emphasising particular areas to strengthen and give weight to something. There is no erasing which means applying more attention to the definite lines.

The rabbit resembles Chinese New Year, the cat, Vietnamese New Year.
Both are a depiction of connecting with family through fun, humorous things that I notice as someone being multicultural. Tapping into the novelty of that world.
These are simpler pieces that communicate a clear connection to self and a sharing personal history. Celebrating the Western New Year as a way of letting go of how the previous year impacted self, celebrating the Lunar New Year as the acknowledgement of family ties and their impact on self.

25. New Year Rabbit and Cat

Charcoal and 'gold' dust pigments
(Acquired)

The rabbit resembles Chinese New Year, the cat, Vietnamese New Year.

Both are a depiction of connecting with family through fun, humorous things that I notice as someone being multicultural. Tapping into the novelty of that world.
These are simpler pieces that communicate a clear connection to self and a sharing personal history. Celebrating the Western New Year as a way of letting go of how the previous year impacted self, celebrating the Lunar New Year as the acknowledgement of family ties and their impact on self.