'Humming at the End of a Dream' exhibition

The title alludes to the elusive and indescribable feeling left behind upon awakening from these states of sleep.

'Humming at the End of a Dream' by Nghia Dang

The vague recollections, the uncertainty of sensations and feelings, the remaining traces of these symbols as we regain consciousness. A feeling of being close to unmasking these secrets but never quite putting our finger on it with certainty, an experience akin to hearing someone humming a melody – could this be? We may never know, but we are getting closer.

Dang's artistic journey has been a consistent evolution of these questions, the writings of the psychoanalysts Lacan and Jung creating a framework for his practice.

The artist does not simply create in an impulsive or cathartic manner but, by considering himself as the primary subject of his art, is able to understand and dissect the connections behind his mind and work.

The image-making process has the power to transform the psychic terrain of an individual because it carries elements of our unconscious to the surface, putting words unto unknown wounds, bringing us closer to potential healing or wholeness.

But in this act of transference, the artist does not attempt to simply transpose or recreate these dreams which could never be translated or recounted with exactitude. Instead, the image-making process takes control and leads the artist without preconceived intentions, producing a picture of a different type, like creating a dream in the present on paper or canvas.

In no way a reproduction of the mental image, these fantastical approximations are in reality closer to the essence of the initial intuition provided by the subconscious. Sometimes the work comes intuitively and he analyses it afterwards, and sometimes the intuition comes first. He follows the threads, unravelling the thoughts behind as the process of needlework forces him to spend time with these images and visualise his own mind-map.

Dang was born in 1994 in Hanoi. He uses psychoanalytical ideas, and in particular the Lacanian approach, as a tool to traverse what he calls 'the ruin within himself', making sense of his experiences, relationships and, perhaps most salient of all, how the self is constructed.

The artworks alternate between visceral iterations of reality and the imaginary realm to recount stories, often of emotional tumult.

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