I contemplate on the idea of homemaking. In doing so, my recent works portray and investigate my mother’s domestic life in Hanoi, Vietnam starting from 1992, the year I was born.

To understand this period of twenty-six years while living in the United States, my research includes acquiring old photographs from my family collection, collecting relevant texts from national literature and poetry books, repurposing existing cinematic footages; and cooking my family home-made food.

This research targets at evidence that reference the struggles my mother experiences in our household. These struggles range from her domestic labor, her inability to reason and share the hardships, her experience with domestic violence, to her convoluted relationship with love.

I use printmaking as a method of reproducing these past visuals. The technique, impressionability and physicality of printmedia allow me to compose, instill, and to continually restructure the information. Vietnamese literary references serve as an uncomfortably comforting foundation for me to assess the visual memories. I work with light and projection to apply these poetries upon the print works. Other senses and aspects of women domesticity are evident in the food we eat; thus, my pursuit of cooking is part of my art practice.

From this practice and visual history, my works imply and question the subliminal residue of national and domestic trauma. Via the use of intaglio, screen print, papermaking, video, light, and culinary, I channel the vigilant debris into temporal frame of objects and spaces. This frame positions as a matrilineal presentation of my family starting from the 1990s in Hanoi, Vietnam. It is my quest of critiquing and accepting that the space of dealing with damaged identity needs to be cared for, to be fixed, and to be reconstructed.