Making Quy Nhon a center of sculpture art

Ahead of his participation in the International Sculpture Camp in Hue in November 2025, he shared about his new work, his creative journey in various international arenas, and his concerns and expectations for the fine arts and sculpture of his homeland.

Sculptor Le Trong Nghia (fifth from the left) with other sculptors at the closing ceremony of the first "Land and People of Gia Lai " Sculpture Camp. **Photo: Van Phi**

* You'll be attending the International Sculpture Camp in Hue soon. Could you share more details about its scale and schedule?

- The Sculpture Camp will launch in June 2025, calling for sketches from artists both domestically and internationally. The organizing committee will select 20 domestic and 10 international artists. The event will take place over 18 days, from November 21st to December 8th, 2025, in Hue – a region rich in historical and artistic value, providing an ideal space for art to blend with its cultural context.

What kind of work and ideas are you bringing?

- My artwork, titled "Breath of Undercurrents," is inspired by the flow of the Perfume River and the resilient spirit of the people of Hue. The circular forms symbolize the breath of undercurrents, representing hidden vitality. The central void evokes the archway of a city gate, the sunrise, and a new page in a book – an extension of the past, present, and future. Made of granite and standing 1.5 meters tall, the artwork conveys a sense of stability and grandeur. I want to tell a story of patience, growth, and tranquil beauty, where culture, nature, and art meet.

* You've participated in many international art workshops, especially the Hanoi Art Connecting Workshop. What did you find particularly special about it?

- I attended four seasons of Hanoi Art Connecting (from the 4th to the 7th). What impressed me most was that the event created a truly open creative space. Artists not only exhibited but also worked directly with each other, exchanging ideas and creating together. This interaction created a vibrant and unique experience.
The organizers also connect various stakeholders: artists, lecturers, students, the public… Each group has the opportunity to participate and contribute. Promotion is also flexible, not only through traditional information but also through widespread dissemination on social media, behind-the-scenes stories of the artists, and personal narratives.

* In 2018, did you attend the International Sculpture Camp in Thailand?

- Yes, I was invited to participate in the International Candle Sculpture Festival in Ubon. It was a special experience to have international artists creating together right in the heart of a traditional festival. My work uses modern visual language but still harmonizes with the spirit of the local community. The art there is not just for display but truly becomes a part of the local cultural life. It's a proud memory and also a valuable lesson for my creative journey.

* What do you usually bring back after each international camp you participate in?

- Each art camp gives me new energy. The multicultural environment helps me learn, broaden my thinking, and become more confident. Each completed work is like a newly lit flame, enriching my ideas. Most valuable are the genuine connections. That's what helps art transcend boundaries to touch people's hearts.

Sculptor Le Trong Nghia stands beside his work "Eye of the Lake" at the first "Land and People of Gia Lai" Sculpture Camp. **Photo: Provided by the artist.**

* You recently participated in the first "Land and People of Gia Lai" Sculpture Camp. What was your biggest impression?

- This is a relatively new model in our province. The organizing committee only selected the sketches, while the artists took the initiative in creating the final works. As a result, the completed pieces have contributed to the formation of a vibrant sculpture garden in Hoi Phu Stream Park. This shows that when artists are trusted and empowered, art will flourish. I hope this model continues to be maintained and spread to Quy Nhon, a place with many green spaces but still lacking sculptures of comparable caliber.

* Speaking of Quy Nhon, I'd like to ask you something else. Currently, there is no art museum or sculpture exhibition space here. What are your thoughts on this absence?

- That's a huge gap. Artworks need a place to be preserved, showcased, connected to, and engage in dialogue with the public. Without a professional space, artworks only exist temporarily before being forgotten, and artists lose motivation. I believe that a truly meaningful art institution not only preserves artworks but also creates a sustainable cultural flow, enhances community aesthetics, and integrates the local area into national and international art life.

What are your thoughts on organizing an international sculpture workshop in Quy Nhon?

- That's a practical and promising direction. It should start domestically to test the mechanisms, organization, and quality of the artworks. Quy Nhon has a long coastline, majestic mountains, and a rapidly changing urban landscape – an ideal foundation for outdoor sculpture. However, to succeed, it's necessary to consult with experienced artists, curators, and experts to ensure the quality of the artworks, choose suitable locations, and define themes that reflect the city's identity. If done properly, a sculpture camp in Quy Nhon would serve as both a creative space and a promotion of the city's image, contributing to enhancing urban aesthetics. Once its reputation is established, inviting international artists would be the natural next step, making Quy Nhon an attractive center for outdoor sculpture.

Thank you for this conversation.

Source: https://baogialai.com.vn/dua-quy-nhon-tro-thanh-trung-tam-nghe-thuat-dieu-khac-post566041.html