"Interchange" is a video art piece that delves into the intricate and often misunderstood cultural and ecological dynamics of Ho Chi Minh City (HCMC). The film examines the boundary between water and air ecosystems through the lens of the Te canal, challenging perceptions of the canal as a lifeless space and emphasizing its role in the city's ecological network. The visual elements of the film likely focus on the Te canal, capturing both the surface and the interactions occurring at the boundary between water and air. The color palette and lighting might emphasize the natural beauty and activity within the canal. The audio is probably a blend of natural sounds from the canal and ambient city noise, creating a juxtaposition between the fast-paced city and the serene canal environment. The narrative seems to follow the canal's interaction with both human and non-human elements, highlighting the canal's rhythms and responses to various stimuli.
The film's central theme is the interdependency between the canal and its surrounding ecosystems, aiming to shift the viewer's perception from seeing the canal as a dead space to recognizing it as a vibrant, communicative entity. The symbolism lies in the portrayal of the canal as a living organism, engaging with its environment and influencing the city's pace. The technical execution, including cinematography and sound design, likely emphasizes the contrast between the bustling city and the tranquil canal, reinforcing the film's thematic focus.
The film invites viewers to reconsider their understanding of urban spaces and their ecological significance. It evokes a sense of appreciation for the hidden dynamics within HCMC, encouraging a more nuanced perspective of the city's cultural and natural interconnections. The artistic merit of the work lies in its ability to reveal the overlooked vitality of the Te canal and its role in the broader urban ecosystem. The film's relevance extends to broader discussions on urban ecology and the importance of recognizing and preserving the natural elements within cities.
"Tan Quy Market" is a cinematic exploration that delves into the heart of Vietnamese culture through the bustling life of a traditional market. The market, a cornerstone of Vietnamese society, is portrayed as a vibrant hub of human interaction, cultural exchange, and communal bonding. This film captures the market's essence, illustrating how it embodies the spirit of being human in its most fundamental form.
Set against the backdrop of a large wet market, the narrative follows the daily rituals of shopping, predominantly conducted on motorcycles, reflecting the unique and dynamic ways in which the community engages with this essential space. The market's atmosphere is palpable, with an intensity that stems from the crucial role food plays in familial and communal life. The freshness and quality of the goods on offer, unmatched by industrialised supermarkets, are central to the market's appeal and vitality.
The film intricately examines the decision-making processes of shoppers as they navigate the market, comparing prices, assessing freshness, and evaluating quality. These decisions are informed by a deep, tacit knowledge passed down through generations, highlighting the cultural importance of these skills and the wisdom inherent in everyday market transactions.
"Tan Quy Market" transcends traditional documentary storytelling by weaving in and out of abstraction. The use of layered colours mimics a painter's technique, building a visual intensity that mirrors the market's vibrant atmosphere. This artistic approach creates a rich tapestry of sights, sounds, and sensations, drawing viewers into the visceral experience of the market.
Through its immersive and visually captivating style, "Tan Quy Market" offers a profound reflection on the act of being human in the context of a street market. It celebrates the market not just as a place of commerce, but as a vital cultural asset that fosters community, preserves traditions, and enriches the daily lives of those who partake in its bustling, colourful world.
"Electrostatic" is a mesmerizing one-shot motorbike journey through the vibrant streets of Ho Chi Minh City, Vietnam. The film immerses viewers in a continuous, uninterrupted sequence that transcends linear time, creating a rich sensory experience that responds dynamically to color of the lived spaces and enveloping darkness surrounding them. In an era dominated by continuous 24 hour light, "Electrostatic" explores the power of color and light enhanced by the absence of light that are woven into the night time streetscapes of the city.
This film, illuminated by ever-present shop lights, celebrates the presence and absence of light as a realm of the unknown and the unpredictable. It creates a space that challenges the rational illuminated world by inviting viewers to consider the surrounding darkness. Developed in collaboration with sound artist Thierry Bernard, "Electrostatic" combines evocative visuals and immersive soundscapes to draw the audience into a contemplative exploration of light, color, and the enigmatic beauty of the night time city.
"Kenh Te" is a contemplative short film crafted from a series of video sketches depicting the western end of the Te canal in Ho Chi Minh City, Vietnam. The film explores the life and transformations of Kenh Te, a waterway that, like many others in Vietnam, faces pollution and the erosion of its functional identity following the decline of the District 4 port and water-based trading.
Through the lens of the canal itself, the film presents a unique perspective on the vibrant and rapidly modernising city. The camera captures the murky waters, subtly revealing the hidden life beneath the surface, where small fish thrive around clusters of water hyacinths. These floating plants become habitats for butterflies and small birds, symbolising the delicate ecosystem that persists amidst urbanisation.
The film also showcases barges that evoke the canal's historical past while hinting at the remnants of a floating market. Alongside these serene images, the edges of the frame are alive with the bustling activity of the community. People are seen traversing over a bridge or moving along Tran Xuan Soan Street, illustrating the juxtaposition of the canal's quiet persistence against the backdrop of the city's relentless pace.
"Kenh Te" offers a reflective glimpse into the intertwined fates of natural and urban landscapes, inviting viewers to consider the enduring presence and evolving role of the canal in the heart of Ho Chi Minh City.
Long Shot looking north across Kenh Te canal to district 4, with riverside dwellings, some rundown. Contrasting with the modern city in the background. Reflections in the river emphasise the scale of materials and their forms.
Long Shot looking north across Kenh Te canal to district 4, with riverside dwellings, some rundown. Contrasting with the modern city in the background. Reflections in the river emphasise the scale of materials and their forms.
Long Shot looking south across Kenh Te canal to district 7. Contrasting with the modern city in the background. Reflections in the river emphasise the scale of materials and their forms. Shot form underneath teh Kenh Te Bridge, showing a fisherman aat low tide.
A promotional video for RMIT Vietnam and their involvement with the River cities network. There are five shots looking across the ken the canal from the District 7 the southside, looking towards district 4 the northside. Four of the sequences have been treated through layering and blurring.
As the sequences become more blurred, they become more abstracted, but they still retain the essence of the scene, this is mainly the Tranquility of water and the stillness of the buildings on the far bank.
This sequence presents the south side of the Ken Te canal during a holiday period. The sequence opens with a shot looking across a busy road, which presents the visual complexity that dominates much of this area and Ho Chi Minh City. Even during a national holiday, the streets are extremely busy with people buying daily food, visiting friends and family. These opening scenes contrast with the calm serenity of the canal. The barges on the canal have two functions they are homes and they are business places. The land based tubehouse model has been translated to the barges. On the opposite bank lies district 4. This once industrious part of the city now lies dormant awaiting its inevitable redevelopment. Towards the end of the sequence, the film focuses on some homes that overhang the canal. There is a unique relationship between the residents who live in these homes and the canal, which provides food and transport alongside its cooling affect in the heat of Saigon.
Filmed from the south side of the canal in District 7 looking towards a park in district 4 this shot comprises a boat covered in canvas to protect it from the elements and shows the floating water hyacinths making their way down the canal. In between the trees can be seen some Riverside homes perched over the edge of the river.
Panning shot looking north towards district 4, following a barge moving along the Kenh Te Canal. The barge is carrying coconuts most likely bought up form the Mekong Delta.
Close up of the Tran Xuan Soan road. The green and blue shop frontage is very common. Both colours are evocative of the city, although they are found all over Vietnam.
Shot from the District 7 side of the canal. The frame focuses on a number of homes that overhang the canal. The reflections of the materials that make the homes in the canal is of particular interest.
One resident can just be made out to be dropping a fishing net and some scraps to attract fish from the rear of her property.
The trees demonstrate how this area of district 4, despite its density and industrial nature still provides a lot of greenery.s an
The shot captures the small ripples of water on the surface of the canal These are created by a slight breeze and traffic on the canal.s and their forms.
This sequence is taken from the the district 7 side of the canal, looking north towards district 4. The shot captures the trees of a park and some residential properties overhanging the canal. A fast moving boat passes from the left-hand side of the frame to the right hand side.
The camera in this sequence is facing away from the canal, looking towards a church in District 7. The church is called 'Giáo Xứ Thuận Phát'. The frame comprises in the foreground, what looks like wasteland will become a park the road behind, Tran Xuan Soan, often struggles with flooding in the rainy season when there is a full moon and high tide.
This camera shot is looking across the Kenh Te canal towards a disused warehouse in district 4. The shot comprises mainly of the canal flowing from right to left carrying water hyacinths in its flow.
The water hyacinths are very useful to the water system as they clean the water of much of the chemical pollutants contained in the canal.
Static camera, shot approximately 30 cm above ground level. The camera is looking across the road that runs alongside the Kenh te canal and captures captures the traffic as it moves through the frame. It is looking north from District 7 to district 4. The tops of barges can just be seen behind the barrier.
