IN A NUTSHELL
One often forgets the immediate context of a work of art. Certainly, the context of its creation, of its "invention" by an artist, of its insertion in a "school" or a "flow", are often invoked or even developed. But, finally, perhaps in the art the artist is of least importance because his destiny, sculpted by others, free or constrained, escapes him. Perhaps also, accordingly, is that the collection, this social link between the artist and his milieu, constitutes the most important evidence of art.
Boi Tran knows that passion, this peppery spice of time, reveals the flavors of life but that the suffering which it engenders offers more slumber without night than nights without sleep. She lives and paints in her magic Thien An garden in Hue, proud but comforting, where the wind frightens the centuries-old pine trees, and the bashful, even prudish, flowers triumph over the rain. A place where Time’s machine, this thief of joys, arrests itself from time to time for the greatest happiness of the visitor.