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Dinh Le
The reality Dinh Le illustrates in his artwork appears to foster a subjective sense of uniqueness while containing a deeper, more intimate meaning. As Le first arrived in the United States in 1979, he also brought with him the culture and experiences of his country, Vietnam. He portrays his experiences and thoughts through photographs, installations, exhibits, and real-life performance arts. Though his discipline may not always offer financial stability (as Le discussed at Lecture), it serves as an ample platform to express his personal messages and feelings. As Le originally aspired to become a Computer Scientist at the University of California at Santa Barbara, it is in the craft of art, mainly photography, where Le found the opportunity to unveil the thoughts and experiences of his childhood from Vietnam. Though a great detail of Le’s work consists of personal representations, he also exhibits a lineage of Vietnamese antiquity relating to the war. In the article, “Dinh Q. Le at the Los Angeles Center for Photographic Studies,” Christopher Miles describes Le’s art to potentially hold a deeper, symbolic meaning. In describing Le’s, The Headless Buddha, Miles the work as a result of “a sad set of circumstances and a potent metaphor for the broader issues these circumstances reflect” (Artweek, April 1998). Dinh Le’s artwork involves a great amount of cultural importance, in terms of, introducing a new innovative art form, as well as referencing cultural and historical context. Perhaps the signifying aspects of Dinh Le’s artwork are his inter-woven photographs. Dinh Le recounts where he learned this trait in his interview with Allan deSouza, “my aunt used to do grass mat weaving, and when I was young I used to watch her and just learned how to do it over the years” (The Headless Buddha, LACPS exhibition catalogue, February 1998). Though Le nonchalantly describes this photo weaving technique, others like Claudine Ise of the Lo... Please login to view comments from other users.
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