Boi Tran confided to me that she had not painted as prolifically as she did in the past two years. This surge in creative output was accompanied by profound personal grief. She endured the tragic loss of her beloved son, a young man who was not only handsome and kind but also dedicated and selfless. During his senior year at a university in America, he sacrificed his life to rescue friends caught in the Pacific Ocean, a heroic act that tragically led to his untimely death. In memory of her son, Boi Tran preserved a beautifully restored wooden house, crafted from jackfruit trees, where she dedicated a space for his commemoration. Situated nearby in a lovingly restored traditional setting, this area of remembrance was adorned with photographs of her son, family, nature, and friends. During a memorial service held in Hue, the absence of white roses in Hanoi—having been sent to Hue for the grieving mother—highlighted the depth of her sorrow. Reflecting on this period, Boi Tran remarked, “During those days, I would have perished without painting.” Her works from this time capture a profound sense of mourning and introspection. The paintings depict women with large, contemplative eyes, either gazing into the distance or bowed in reverent prayer, echoing the artist's own grieving process. The twelve lacquer paintings, each measuring 60x120 cm, are embellished with silver and gold but eschew vibrant colors in favor of muted tones such as the green moss of the citadel or the velvety brown of Thien An Hill. Only when a depiction of a baby boy appears does the color palette brighten, symbolizing her deep emotional connection and reminiscence of her son amidst the melancholic backdrop.