Interview | Ho Chi Minh City-based Artist Nguyen Khoi

Khoi is a multidisciplinary artist based in Ho Chi Minh City, Vietnam.

​Nguyen Khoi graduated from high school with a major in the sciences department. He earned a bachelor’s degree in multimedia arts from the Ho Chi Minh University of Fine Arts in Ho Chi Minh City and a master’s degree in fine arts at Falmouth University.

​By dismantling and reconstructing damaged everyday household electronics, objects that have quietly mediated human actions and experiences, to create paradoxical works, Khoi examines how identity and perception are constructed between humans and objects. He also considers how ignorance and ambiguity draw attention to images or objects beyond the scope of knowledge, while simultaneously reflecting on the complex relationship between humans and technology.

In addition, he is also a co-founder of Chinbo Collective, which is an art group in Vietnam.

A mechanical apparatus featuring a triangular frame, blue rollers at the base, and a series of white curved components. The setup is designed for a specific function, with visible electrical connections.
Hatch, 2024, Metal frame of a hammock, hammock swinging machine, old filters of water machine, plastic tube, computer electronic wires, loop video, 100 x 100 x 100 cm, Photo by Nguyen Le Tuan Kiet

Can you tell us about your background and how you started your artistic journey?

I was born into a family with a strong artistic tradition, my father is a lacquer painter and my mother a literature teacher. Yet, my early interests leaned toward technology, particularly biomedical engineering, which led me to pursue studies in the sciences. Over time, however, I realized that this path felt rigid and overly defined by strict notions of right and wrong, shaped by teachers who demanded absolute clarity.

Feeling constrained, I decided to step away and experiment with art. In the freer environment of artistic practice, I gradually discovered a deep sense of belonging and passion. What began as exploration soon grew into commitment, and I have since devoted myself to studying and pursuing art as my true path.

A close-up view of electronic equipment on a concrete floor, featuring a small display showing an image and surrounded by cables. White components resembling abstract shapes hang nearby, supported by a metal frame.
Hatch, 2024, Metal frame of a hammock, hammock swinging machine, old filters of water machine, plastic tube, computer electronic wires, loop video, 100 x 100 x 100 cm, Photo by Nguyen Le Tuan Kiet

What are the main themes or concepts you explore in your work?

The central theme of my work is the complexity of the relationship between humans and objects, particularly household electronics. As a child, I once encountered a Buddhist monk who spoke to me about the soul. He compared the soul to electricity: when electricity flows through a fan, it becomes mechanical energy; when it passes through a stove, it becomes heat. In the same way, the human soul transforms depending on its vessel.

Later, I read a book that suggested objects are not merely tools but also carriers of history, reflections of identity, and communicative partners with humans. These ideas deeply influenced me, sparking a desire to explore the intricate connections between people and the objects that surround them.

A braided black cord plugged into a power socket on a wall, with yellow objects scattered on the floor.
No.9, 2024, Electrical outlet, electric plug head, hair, silkworm cocoon, 15 x 40 x 3 cm

You work across multiple disciplines. How do these different forms of expression inform and inspire each other?

I find that different artistic disciplines complement one another in powerful ways. For example, sound, video, or movement can transform a static painting or sculpture into an experience that engages the viewer’s senses more deeply, heightening emotions or generating multiple layers of meaning for each individual.

From the perspective of the artist, working across diverse fields also equips me with a wide range of skills and keeps my practice dynamic. This multidisciplinary approach prevents monotony, allowing me to continually discover new possibilities and sustain my passion for creation.

A close-up of a wall-mounted clock in black and white, featuring a circular design with hour and minute hands, and metallic accents.
+3-1, 2024, Aluminum alloy infrared stove heat plate, clock, heat sink, tooth color chart, 50 x 35 cm, Photo by Nhu Ngoc

How do your personal experiences and identity influence your art?

I believe this has had a profound influence on me. As a child, instead of playing with conventional toys, I often used household objects and imagined stories around them. A hard drive became a spaceship, a cup transformed into a cluster of energy, and a roll of tape turned into a coiled creature. In a way, I was already practicing art through imagination, using objects as vessels for creativity.

This early habit has shaped my current practice. I continue to imagine the possibilities and relationships of everyday household items, dismantling them, reassembling them, and altering their structures, to explore how they can embody new meanings and connections.

A vintage yellow television mounted on a grid wall, displaying an image. A pair of black headphones hangs next to it.
No.10, 2024, Video, audio, tomato, needles, microwave door, grocery nets and hangers, 80 x 100 cm

What role do you believe art plays in social and cultural change?

I believe that art has the power to deepen our understanding of humanity’s relationship with the world, nurturing empathy and a greater sense of responsibility toward one another and toward non-human entities. Art enables people to engage with diverse ideals, cultures, and ways of thinking. By embracing these new values, perspectives are expanded, and awareness of life’s diversity becomes sharper.

I see art as a force that challenges prejudice, broadens personal viewpoints, and ultimately contributes to building a more inclusive and compassionate society.

A large, circular metal pot lid hanging on a wall, with reflections and shadows cast on a plain background.
Intermediary Object, 2025, Engraving on an aluminum pot, 70 x 70 cm, Photo by Nhu Ngoc

What projects are you currently working on, and what can we expect from you in the future?

At present, I am collaborating with another artist on a research project titled Salvage Computing as a Foundation for Digital Media Arts Pedagogy. I hope that this study will, in the future, prove valuable both to artists and to the field of arts education.

Looking ahead, I also wish to embark on collaborative projects with my wife, Nguyen Viet Trinh, exploring themes of gender through the lens of domestic spaces and architecture.

Text & photo courtesy of ​Nguyen Khoi

Portrait of a young man with curly black hair and glasses, wearing a black shirt, against a plain background.
​Nguyen Khoi

Website: https://undergo.wixsite.com/ngkhoi
Instagram: https://www.instagram.com/im.just.ngkhoi/


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