I am a British-born Vietnamese interdisciplinary visual and performance artist. My practice explores how we inhabit and internalise space through objects, materials, and embodied behaviour. Working site-specifically across sculpture, installation, and the body, I treat my body as both subject and material. Central to this research is a deep interest in material culture: how objects accrue meaning, carry memory, ritual, trade, migration, and power, and function as metaphors and symbols within specific cultural contexts. I approach materials and objects not as passive props but as active participants in the construction of space, identity, and encounter.

My training and experience inform this materially and spatially. My degree in Fine Art Sculpture (University of Southampton - Winchester School of Art, UK ) trained me in material thinking; my time as an artist working within the Department of Architecture at Xi’an Jiaotong-Liverpool University in Suzhou, China, exposed me to spatial systems and has left a deep impact on my practice, especially in relation to vernacular design; and my Master’s in Performing in Public Space (Fonty’s Academy of the Arts, Netherlands) taught me to test embodiment under real social and legal conditions. Together, these perspectives shape how I move between sculpture, architecture, and live action.

My work operates between performance art and behaviour art. From Western training, I inherit performance art’s conceptual staging: body, time, audience, documentation, and critique. From my Vietnamese heritage and experience of living and working in Asia, I draw on behaviour art, xíngwéi yìshù, with its emphasis on lived action, endurance, public intervention, and social relations. In this hybrid position, the body is both performer and behaving organism.

I use James J. Gibson’s theory of affordances conceptually and artistically. Affordances are the action possibilities an environment offers a body. In performance art, the gallery, camera, and audience afford certain gestures; in behaviour art, the street and public spaces afford others. As a dual-heritage British Vietnamese artist, I feel how spaces invite, permit, or refuse movement, speech, and belonging. My work stages and behaves these affordances, testing what a body can do, what culture allows, and how identity is enacted when environments change. Gibson helps me treat performance as a relational ecology of possible actions, not a scripted event.

‘Wearing Several Hats’
Non La - Leaf Hat (2015 | 2025) Private Collection

Exhibited at ‘Womb of Fire ‘ at Vin Art Gallery & Mo art Space
Ho Chi Minh City & Hanoi. Vietnam