Erica Pham

“What is your favorite artwork?”

Curatorial Rationale

My body of work is about my motherland, Vietnam, and the feelings, traditions, and iconic aspects that stand out to me as a Vietnamese-American. My artwork attempts to educate viewers about key aspects of the Vietnamese, from architecture to celebratory customs. I feel like the country of Vietnam and its traditions consistently get combined and covered by the traditions of more popular modern countries in Asia, such as Japan and China. Thus, the goal of my body of work is to clarify and expose the customs and lifestyle of Vietnam, which are different from any other country in the world and should be recognized as such.

Growing up in America with Vietnamese immigrant parents, my life has been filled with many blessings and traditions, yet there are many times where I feel distant from my culture and ethnicity. Though I cannot travel back to Vietnam, it helps me to realize that there are so many aspects of Vietnam that I do know and that do represent our traditional values. Every country has such a distinct culture that cannot be communicated solely through words. There are so many objects that are part of the identity of a country, whether those are celebratory objects, common household objects, or more. Hence, this is why half of my artworks are sculptures, because in my vision were 3D objects that I feel like are iconic to my own culture. 

Throughout my exhibition, I used different hues for each contrasting artwork representing different aspects of Vietnam. I value balance in my artworks so that I have an impactful, aesthetically pleasing display.  My exhibition explores themes of identity, symbolism, and reality. Because each artwork emphasizes one or more specific objects, each piece incorporates many forms and shapes.

I placed my 2D artworks involving faces and identity towards the left, and I included the perspective landscape artworks towards the right. My intention with my artworks is to immerse viewers into my exhibition, looking from the faces that represent the vibrance of Vietnamese identity to the sights that are seen in Vietnam. The pieces compiled in “No Eye Contact” take the viewer through a visual journey in itself, and the Vietnamese flag emphasizes the clear collage of Vietnamese identity. The face of Vietnam is represented through the Vietnamese lion and the abstract Vietnamese lady.   

The landscape in my next two artworks towards the right offer a literal view into Vietnam. The childhood sight of the Mid-Autumn Festival light procession and the woman carrying baskets with a bamboo pole in the countryside are iconic unique sights of Vietnam. Inspired by Michael Orwick’s use of oil on canvas to paint Tet lanterns, I used acrylic paint to create the vibrance and true colors of a child’s lantern light walk. On the other hand, I used charcoal to emphasize the bleak contrast and reality of a farmer’s life in Vietnam. These perspectives allow the viewer to receive insight into not just the Vietnamese identity, but the lifestyle, when viewing the 2D artworks across the backboard.  

Each 3D sculpture, influenced by real items from Vietnam, is placed to allow viewers to physically look along the countertop space for a glimpse into Vietnam. In the middle is my most impactful artwork: the roasted pig sculpture. At cultural celebrations, this roasted pig and the red gift container of fruits is in the center of the room on a table. Combining structural elements with tonally painted surfaces and clear varnish spray, I achieved the shine and authenticity of the roast pig and the painted bowl. The concept of the stilt house was influenced by Luong Duong’s oil painting of traditional stilt houses over water, a feature required for Vietnamese coastal cities. I used magazine rolls, cardboard, and newspapers to mimic the authenticity of raw materials used to make these homes. 

To me, Vietnam is the land, people, customs, history, and identity. Through my exhibition, I intend for my audience to feel immersed into Vietnamese sights and pieces they can walk up to and observe the details of. This exhibition’s purpose is to educate viewers and increase appreciation for the beauty of learning about new cultures, as opposed to just turning an uninterested blind eye.

Erica’s Art Work

  • No Eye Contact

    Magazine, Mod Podge, Colored Pencil, and Acrylic Paint on Canvas

    35.56 X 27.94 cm

    In Vietnam, making eye contact with an elder or someone superior to you is considered a threat. It is respectful to avoid eye contact. I intended to portray this unique fact of Vietnamese culture in this abstract artwork of a Vietnamese woman smirking face. The South Vietnam flag, different from the official flag today, is featured, and other symbols such as a hidden dragon are purposefully compiled into the magazine collage that is her face and hair in a high bun.

  • The Balance of the Basket

    Charcoal on Paper

    45.72 X 30.48 cm

    Baskets are carried in a variety of ways in different cultures. Vietnamese people, especially in the past, generally used the bamboo shoulder pole, quang bánh, with two balanced hanging baskets, which is the focus of my artwork. In the background, I included a vast landscape of the Vietnamese countryside, including a lake, hills, and grasses; this is the tranquil part of Vietnam under a shining sun and a clear sky.

  • Vietnam Dragon Vibrance

    Colored Pencil on Paper

    15.24 X 21.59 cm

    Used to ward off evil spirits, the Vietnamese lion or dragon performs during traditional celebrations. This reference is contrasted with the vibrant hues of the dragon fruit, used since Vietnam is the largest dragon fruit exporter. The use of colored pencil creates textures in these vibrant objects. The dragon fruit plant contrasting with patterns of the intricate subject create different rhythms. Both are objects characterized as dragon items, identifying with Vietnam culture and land.

  • Rước Đèn Trung Thu

    Acrylic on Canvas

    30.48 X 22.86 cm

    The title means Mid-Autumn Festival light procession. In this artwork, I intended to provide a glimpse into this traditional festival in Vietnamese culture. It is traditional for kids to walk lanterns under the bright moon, so I depicted that in the first person perspective. I was inspired to capture the vibrance and simplicity of this festival that celebrates the moon and is also known as a “Children’s Festival.” This night scene is a fond memory of many Vietnamese children.

A Celebratory Gift

Traditional Clay with Glaze and Acrylic Paint on Paper Mache
17.7 X 17.7  X 10.16 cm

In Vietnamese culture, for holidays and traditions such as Lunar New Year and engagement ceremonies, gifts are presented in a shiny red container. I have created a 3D sculpture container of fruits. Apples, grapes, dark peaches, and green mangoes are common fruits presented to families and displayed for show during special occasions. Inspired by this item, I used values, form, shape, and lines to create a sculpture that resembles the celebratory aspect of Vietnam culture.



Traditional Stilt House

Cardboard, Newspaper, Acrylic Paint, Magazine Roll, Masking Tape, Varnish Spray, and Hot Glue

30.48 X 30.48 X 27.94 cm

I was inspired by paintings and images of traditional stilt houses in Vietnamese architecture. The artwork depicts a take on the traditional stilt house by using recycled materials in the structure. It is important that the stilts are strong enough to hold up the house, and that the house is light enough to be held up off the ground. I intended to capture that unique quality of Vietnamese architecture. 




Roasted Pig on a Platter

Traditional Clay with Glaze and Acrylic Paint on Paper Mache
17.7 X 17.7  X 10.16 cm

In Vietnamese culture, during major events, such as New Year’s and weddings, traditionally, a full roasted pig is served to celebrate. During the tea ceremony for engagements, the groom’s family typically carries a roasted pig on a plain red platter to their fiance's home as an offering to the family. I created a life-sized sculpture of this symbol of celebration in Vietnamese culture with paper mache, intricate paint, and varnish spray to get the texture and shine of a roasted pig. 

The Tale of the Bowl

Acrylic on Canvas
30.48 X 22.86 cm


I was inspired by the traditional and culturally significant designs and popularity of porcelain blue and white bowls typically in Vietnamese households. The artwork is a sculpture of the actual shape of the porcelain bowls. I captured the countryside and the stilt houses on the water in Vietnam in a panoramic view around the bowl to show the landscape of Vietnam outside of the busy city environment. The Vietnamese expression in the center is said when welcoming everyone to eat first.