Lê Thuý highlights the cultural significance of silk and lacquer painting in Viê. t Nam, while subtly commenting on contemporary issues and themes. The multi-part installation Echo 2024 evokes a ruined house. The work began with the recovery of nine doors from a dismantled house in the historical town of Hôi An, which the artist has delicately painted in red lacquer and gold foiling, incorporating references to history, memento mori narratives and pan-Asian religions.

At the centre of the doors is a single shadowy figure with multiple arms, representing Guanyin, the Buddhist goddess of mercy and the mother goddess of Đao Mâu spiritual beliefs, which are deeply rooted in Vietnamese culture. The plants featured have been selected for their symbolic meanings, from those used in medicine or poisons to those embodying prosperity and beauty (the peony) or high moral character (bamboo). On one side are images of war and disaster, on the other dreams and hopes.

Representing the interiors of such houses, translucent silk paintings depict family shrines, memorabilia and architectural embellishments, capturing the moral values and aspirations of former occupants. The transience of memory and vulnerability of heritage are at the heart of Lê Thuý’s project, further signalled by broken bricks adorned with gold details. In the artist’s words: ‘It is my hope that through this exploration, we may find beauty in the overlooked and meaning in the forgotten.’