Archive for the ‘Vietnam’ Category

Knife Village

Thursday, July 29th, 2010

Lai Chau landscape, Vietnam

Lai Chau, Vietnam, on assignment for my book Sensual Papers: Through the Back Roads and Rivers of Thailand, Laos and Vietnam.

I’m standing by one side of the road as my guide pisses off the other. We’ve been chasing rumors of papermakers through the back roads of the province all afternoon but haven’t had any luck. I take off my helmet, wipe off sweat and sunscreen, and admire the view anyway.

My guide walks up next to me and shares a grin. “How about we go to the knife village?” he asks.

“Knife Village?”

“Yeah they turn car parts into knives. It’s famous throughout Lai Chau.”

If a province has no noteworthy features, why not make one up?

Knife Village, Lai Chau Vietnam

The road is lined with rickety open-air shelters, each strung with knives made by the family of blacksmiths who live in a house next door.

“These are all made from destroyed cars,” my guide says.

I picture the slender blacksmiths tearing apart car bodies.

“They use car springs, brakes, that kind of thing,” he says. I nod, as though I have an idea of what a car brake looks like, and pick up a knife. It is cold and rough, a pleasing weight in my hand.

“How much do you think they’d charge a foreigner for this one?” I ask.

“Let’s find the guy who owns this place,” my guide says.

We walk over to the house where an elderly man smiles at us through an open window. He reads through the mid-day heat, and his book catches my eye. It’s not printed in the Roman script of Vietnamese. Instead, its pages are covered in a hand-written script, neither completely traditional Chinese characters nor the modern version.

Lai Chau, Vietnam

“This is a prayer book,” my guide says. “The man is from the Dao people, and this is their family’s book. The paper is….” he pauses to translate, “from China, maybe handmade, maybe not.”

I look through the translucent pages into the sunny sky. The paper fibers go in all directions. “It’s handmade,” I say. “Did he write the book himself?”

“He copied it from another book. No, this village doesn’t make paper anymore, there’s a road and they can buy everything they need from the markets.”

Except knives, apparently.

“Now he wonders how much you will pay for the knife. He can throw in a pair of handmade scissors for half price.”

Spun Gold

Tuesday, July 6th, 2010

I travel to drink in the world through all my senses. When I saw this rough golden silk in Hanoi I had to touch it. The strands of silk felt like dried grass under my fingers, and I bought two yards to see if I could Cyanotype it.

Raw Vietnamese Silk

“Where on earth did you find this?” I asked my friend Van. “I’ve never seen anything like it before.”

We were in Van’s tiny silk shop Silkaa, across from Hanoi’s Cathedral. Her landlady coughed and cackled from the mezzanine above, resting her old bones before transforming the silk store into a tea shop for the evening.

“I’ve bought the silk from a village in northwest Vietnam, then take it to another village where they weave it for me. I’m headed there tomorrow. Want to come?” she asked.

It was an offer I couldn’t refuse: a weekend away from Hanoi’s sweltering afternoons, and the chance to see this straw spun into gold.

Raw Vietnamese Silk

The next morning we caught a 6am bus to the village, and the driver dropped us off near the weaver’s home.

We were greeted at the door by this orange bag bursting with silk strands – so wiry they looked like vermicelli noodles.

Raw Vietnamese Silk

After the silk is washed and dried it is smoother than before, but most of the original gum coating remains. This gives the silk its unique texture.

Raw Vietnamese Silk

The fabric has an open weave but is still incredibly strong. Van had commissioned the weavers to make hundreds of yards of it for a hotel in Saigon.

“They’ll use it for lampshades in their lounge and restaurants,” she said. It was one of the biggest orders she’d ever had, and she wanted to be sure of the fabric’s high quality during the entire project.

Raw Vietnamese Silk

While it turned out the stiff coating on the silk prevented it from being a good material for my Cyanotype prints, I’m sure it was perfect for amazing golden lampshades for a swish hotel down in southern Vietnam, and ensured Van had plenty of gold for her business for quite some time.

Rooftop Blues in Bangkok

Tuesday, April 27th, 2010

Some images from recent printing sessions at my studio:

Developing Cyanotypes in the Sun

Experimenting with new ways to apply cyanotype chemicals

Here are some Artists Proofs baking in the midday sun, quickly turning from green to dark Prussian blue then bleached by the sun into Prussian White.

These images developed in record time for me – just over ten minutes.

Developing Cyanotypes on Bangkok Rooftop

Prints developing on the rooftop, with neighborhood houses in the background

Directions for the photo chemicals say: “For consistent results, a UV lightbox is recommended,” and “best applied with a glass rod for even coverage.”

But I ignore these extra tools.

Every one of my cyanotype prints is the result of a unique juxtaposition of sunlight and humidity, acidity and images. I stroke chemicals onto paper with my paintbrush, held with confidence from years of training. It’s key to the variety within the blues of every series I make.

Rinsing Cyanotypes

Rinsing the prints

The first time I developed one of my own images in a darkroom, I was hooked. “It’s magic,” I thought.

In the trays under my fingers emerged an abandoned building covered in ice from a spring hailstorm. Pure Gothic kitsch, and no doubt it presaged my Bokor series.

Rinsing cyanotypes is simpler than a series of darkroom trays -these require  just 5 minutes under running water.

Highlights appear within a minute and the blues grow deeper as the image dries.

Later I scrutinize my prints and note the variety of borders on each one as they fade toward the paper’s edge: a water drop fallen on the drying print here, an extra stain from chemicals accentuate the image there.  Other prints go into the recycling bin, their irregularities too much of a distraction.

Like the imperfections that distinguish all of us from one another, it’s these variations that makes each print a unique work of art.

Why My Favorite Earrings Can’t Come with me to Bangkok

Friday, February 12th, 2010

Ear Knife

Scimitar earrings from Hanoi, handmade by a 5th-generation family of silversmiths

Walk Away Your Troubles

Friday, February 5th, 2010

Ninh Binh, Vietnam 2008

A brand new bridge at the Trang An caves, Vietnam

August 2008, Ninh Binh:

It’s my first time in Vietnam and I’m on a mission to talk to as many artists and galleries as I can for the website Gallery Cyclo [still a work in progress]. But I’m tired. I’ve been hassled in Saigon, hustled in Hoi An, and had a moto driver try to mug me on a beautiful night in the ex-DMZ city of Danang. My knees and palms are still covered in scabs from jumping off his motorbike to keep my camera – and everything else – out of his hands.

Looking for a respite from the big cities, I take a few days off from artists and focus on a new photo series. I climb limestone karsts and pant my way into pagodas at the top. Visit a Chinese-style Catholic cathedral made famous by one of my favorite writers. A hotel receptionist hands me a map and says, “You should see these caves at Trang An, they’re not in the Lonely Planet.” Always a recommendation to follow.

My guide and I hop into a rickety wooden boat and are soon dodging stalactites in a massive inland lagoon. The caves are truly spectacular, and are unlike anywhere else I’ve been before or since.

More photos and descriptions over at ThingsAsian.

About Me

I'm an american artist with an Asian focus.
I paint sharp-witted women.
I print blue photos of disappearing places. Sometimes I work in Sydney, sometimes I work in Asia. You can keep up and connect with me on Twitter, and Facebook, and Flickr

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