Making Quy Nhon a center of sculpture art

(GLO)- According to information from the Organizing Committee of the International Sculpture Camp in Hue, sculptor Le Trong Nghia is the only artist from Gia Lai province whose work was selected to participate in the exhibition.

Before attending the International Sculpture Camp in Hue in November 2025, he shared about his new work, his creative journey in many international playgrounds and his concerns and expectations for fine arts and sculpture in his homeland.

Sculptor Le Trong Nghia (5th from left) and other sculptors at the closing ceremony of the first “ Gia Lai Land and People” Sculpture Camp. Photo: Van Phi

* You will soon attend the International Sculpture Camp in Hue, can you share more about the scale and timing of the event?

- The sculpture camp started in June 2025, calling on domestic and foreign artists to submit sketches. As a result, the Organizing Committee selected 20 domestic authors and 10 international authors. The event took place over 18 days, from November 21 to December 8, 2025, in Hue - a land rich in historical and artistic values, an ideal space for art to blend with the cultural context.

* What works and ideas do you bring?

- My work is called Breath of the Undercurrent, inspired by the flow of the Perfume River and the resilient spirit of Hue people. The circular blocks symbolize the breath of the undercurrent, expressing the hidden vitality. The central void evokes the citadel gate arch, the dawn and the new book page - the connection between the past, present and future. The granite work, 1.5 m high, creates a sense of stability and majesty. I want to convey a story of patience, fertility and quiet beauty, where culture, nature and art meet.

* You have participated in many international creative camps, especially the Hanoi Art Connecting Workshop. What did you find special there?

- I attended four seasons of Hanoi Art Connecting (4th to 7th times). The most impressive thing is that the event creates a truly open creative space. Artists not only exhibit but also work directly, exchange and create together. It is this interaction that creates a lively and different experience.

The organizers also connect many components: Artists, lecturers, students, the public... Each group has the opportunity to participate and contribute. Promotion is also flexible, not only through traditional information but also spread strongly on social networks, through behind-the-scenes creations and personal stories of artists.

* In 2018, you attended the International Sculpture Camp in Thailand?

- Yes, I was invited to participate in the International Candle Wax Sculpture in Ubon. It was a special experience when international artists created together right in the heart of a traditional festival. My work used modern visual language but still harmonized with the spirit of the local community. The art there was not only displayed but also became a part of the local cultural life. It was a proud memory and also a valuable lesson for my creative journey.

* After each international camp, what do you usually bring back?

- Each creative camp gives me new energy. The multicultural environment helps me learn, broaden my mind and become more confident. Each completed work is like a new fire that lights up, enriching my ideas. The most precious thing is sincere connections. That is what helps art cross boundaries to touch people's hearts.

Sculptor Le Trong Nghia with the work "Eyes of the Lake" at the first "Land and People of Gia Lai" Sculpture Camp. Photo: NVCC

* Recently, you participated in the first "Gia Lai Land and People" Sculpture Camp, what was your biggest impression?

- This is a fairly new model in our province. The organizers only selected sketches, while the artists took the initiative to create the works. As a result, the completed works have contributed to the formation of a vibrant sculpture garden in Hoi Phu stream park. This shows that when artists are trusted and empowered, art will go far. I hope that this model will continue to be maintained and spread to Quy Nhon, a place with many green spaces but still lacking worthy sculptures.

* Speaking of Quy Nhon, may I ask you, currently, there is still no art museum or sculpture exhibition space here, how do you perceive this absence?

- That is a big gap. Artworks need a place to preserve, introduce, connect and dialogue with the public. When there is a lack of professional space, works only exist temporarily and are forgotten, and artists also lose motivation. I believe that a true art institution not only preserves works, but also creates a sustainable cultural flow, enhances community aesthetics and integrates the locality into the national and international art scene.

* What do you think about organizing an international sculpture camp in Quy Nhon?

- That is a practical and potential direction. It should be started first on a domestic scale to test the mechanism, organization, and quality of the works. Quy Nhon has a long sea, majestic mountains, and a rapidly changing urban area - an ideal foundation for outdoor sculpture. However, to be successful, it is necessary to consult with experienced artists, curators, and experts to ensure the quality of the works, choose locations, and shape themes that match the identity. If done properly, a sculpture camp in Quy Nhon will be both a place of creativity and promotion of the city's image, contributing to enhancing the urban beauty. When reputation is affirmed, inviting international artists will be the natural next step, making Quy Nhon an attractive outdoor sculpture art center.

* Thank you for this conversation.

Source: https://baogialai.com.vn/dua-quy-nhon-tro-thanh-trung-tam-nghe-thuat-dieu-khac-post566041.html