- Has style of beauty Vietnamese women and landscape, creating deep impressions of humanity.
- Participated in fine arts exhibitions in Hue, 1996, 1997, 1998, 1999.
- Has works in private collections in Vietnam and abroad.
A very renowned contemporary artist, Nguyen Trung, whose works are regularly collected by prestigious art collection institutions domestically and abroad, has commented on Boi Tran’s paintings as following:
“Among different themes and subjects that Boi Tran expresses her art view, there are two themes that she finds herself connected to the most: Child-Motherhood and love for the nature.
The Child-Motherhood, as always, is the most sacred sentiment compared to any other human relations because it is so intense and so profound. Deeply rooted in the personal experience of the loss of her dearest son not too long ago, the Child-Motherhood that is painted in Boi Tran's paintings clearly depicts the sorrow of a lost love. In many of Boi Tran's paintings, one could easily find images such as a mother dearly holding a child in her arms, or a woman standing by the ocean desperately waiting for signs of her son to come home. In the other pieces are the images of a woman looking up to the sky with her hands drawn together as if she is praying for the day of reunion with her child. Completely carried away in a world of her own where sadness, solitude, and reminiscences of the old happy-together days reign. However, her facial expression, in fact, her eyes are so radiant with love and faith! Perhaps, when people are taken to the lowest point of desperation, they'll learn to realize the beauty from within desperation itself that it helps complimenting the other extreme of human emotions.
As mentioned above, nature is another main source of inspiration to artist Boi Tran's works. Currently residing in Thien An Hills - one of the most beautiful landmarks of Hue city where it is known for endless rows of evergreen trees - Boi Tran, with a sensible heart and gifted talent of an artist, is able to fully perceive the beauty of nature that comes right out from her magnificent garden, and then convey that beauty in the most artistic fashion to her paintings. Lotus and hoa Quynh (a white orchid that only blossoms when the night falls and fades away when the sun rises) are her two favorite flowers and thus are often present in her works of art. Perhaps in these flowers she perceives the two most fundamental principles of life: the highest purity and the uncertainty.”
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Extract Sotheby's catalogue,Hong Kong,2008
Boi Tran’s pictorial work presents profound originality: it is part of an isolated approach, removed from the dominant schools; it expresses the search for universal humanism deeply rooted in a characteristically Vietnamese sensitivity.
Boi Tran’s paintings and lacquers fit neither into the line of the School of Fine Arts in Hanoi, nor into a hypothetical school of the South that might be named “the Gia Dinh school”.
Born in Hue, in central Vietnam, a city that suffered more than engendered the painful political events of the 20th century, the artist knew nothing of the influences – positive or negative – that nourished “the Schools”. Hers is a solitary body of work, freed from social contingencies, hierarchical obligations and compromises, that was elaborated.
And her approach inscribes itself in an exacerbated quest for humanism. From this doctrine, which holds as its finality the human being and his/her unfolding, Boi Tran extolled a quest for the absolute of which she was the medium: mourning, solitude, material hardship – which she was more than touched by – must be sublimated in order to be transcended. And going beyond reality must begin by outreaching oneself. However, the “self” must remain of the earth: the artist is not one of the damned but an actor of reality, he decorates the concept, as one sets the table of a feast. Boi Tran’s Eden-like garden in Hue on the Thien An hill bears witness to this: diversity, elegance, but simplicity as well, a lotus or a hoa quyhn, whose flower opens during the night before quickly vanishing, communicates this. The garden would not exist without Boi Tran, yet, Boi Tran the painter would not exist without the garden. Double elegance: the model is her subject. A student of the famous painter Nguyen Trung, whom she met in 1995, whose muse she became and for whom she remained a model, she transcended herself. A superficial study would reveal great similarity of expression between the two artists, whereas, much more subtly, in Boi Tran’s creations the model – the object, in other words – transcends itself in as much as the object represented becomes its own subject: it leaves the painting, escapes from the painter and represents itself: the “self” becomes “me” and the transcendence is complete.
The work of Boi Tran brings us back to Nguyen Gia Thieu (1741-1798) and to his masterpiece, the “Cung Oan Ngam Khuc” (Sadness of the Palace).
“That the wind and the moon be our friends henceforth,
The river of Peacefulness, the torch of Wisdom,
Let us leave this world of dust with serene steps,
Living removed from things, that is being immortalhere below”
BOITRAN GALLERY 
