Mai Nguyễn-Long describes her Vomit Girl sculptures as ‘contemporary folkloric forms’, using mistranslation and wordplay to reflect on disconnection from identity and language. Inspired by carved wooden figures found in Vietnamese đình – communal houses central to village life – Nguyễn-Long reimagines the deities as hybrid clay creatures of her own invention. Infused with humour, ambiguity and personal mythology, these figures transform spiritual unease into resilience.

Two recurring visual motifs anchor the series. The doba (đình bombshell axis) references a village bell replaced with a bombshell, symbolising adaptation and survival. The coiled, sinuous worana (worm dragon snake) draws on the transformation of the Chinese dragon into a gentler Vietnamese aesthetic. Together, these motifs explore shifting cultural power and meaning, recasting inherited symbols through the artist’s own diasporic lens.