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Installation view | photo: Takeru Koroda
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The Tempter's Tail Sculpture

Lê Thanh Nguyên Phương

Vietnam

Sculpture, Ceramic on Ceramic

Size: 23.6 W x 9.1 H x 9.4 D in

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About The Artwork

There are a bright portion and a dark portion that concurrently exist in a human's soul. In my childhood, I was told that on my shoulder, God is sitting on the right side and the Devil is sitting on the left side; during my life, the Devil will occasionally win, but generally, God’s predominance should be better. To me, this sculpture is a reflection of the moment when the Devil is occupying the soul. This artwork is a hollow sculpture, weighs about 2.5 kg, and should be hung on the wall via a hole already opened at its back. Methodologically, it is created by a synthesis of coil building, and a decorating method advanced from one of Bien Hoa ceramics producing area in the South of Vietnam. In this conventional glazing, a carved line is used to prevent different glazes from overlapping with each other. On my rough and complex-surfaced sculpture like this one, I took the initiative to scale the intended glazing areas down to glazed dots; thus, the carved contour becomes unnecessary. Viewing this ceramic sculpture from a distance, only colored form might be seen. The closer we come, the more obviously the color glazed dots appear. This optical illusion helps to create the feeling that the artwork is animated.

Details & Dimensions

Sculpture:Ceramic on Ceramic

Original:One-of-a-kind Artwork

Size:23.6 W x 9.1 H x 9.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

A Vietnamese independent visual artist based in Ho Chi Minh City, Vietnam. My career started off as a commercial designer after I accomplished a major in Industrial Arts/Ceramic Art in Vietnam in 2005. After a period of postgraduate study in Japan (2011-2017), I returned to Vietnam and established my atelier. My practice is evolving towards the physical characteristics of visual and tactile sensation through the properties of materials. My works are expanded from ceramics to mixed-media surfaces. With an expectation of being able to extensively propose an art appreciation to even the visually impaired people, I considers the integration of tactile interpretation onto my visual artworks as an ‘inclusiveness’; and it is channeling my study into an investigation of the relationship between the ‘inclusive’ and the ‘exclusive’ aspect within a context of contemporary society.

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