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, just as one sets the table for a feast. Boi Tran’s Eden-like garden in Hue on the Thien An hill bears witness to this: diversity, elegance, but for simplicity as well, a lotus or an epiphyllum, whose owner 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 the 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.