Sculptor Tran Thien Nhut: a new breath from old materials

Can you share your philosophy of bringing sculpture into touch with reality and blending with nature?

I strive to take sculpture beyond the confines of conventional galleries and place it within everyday surroundings. Nature is a constant source of inspiration. I don’t just want to create decorative objects, I want my work to carry a message of sustainability. Using recycled materials like cardboard is my way of honouring nature, while also inviting people to become more conscious of their role in environmental preservation.

How did you come up with the sustainable alternative of recycled cardboard? Tell us about the process of finding and creating a new material, from the idea stage to putting it into actual works.

The idea of using recycled cardboard began with a deep concern for health: mine, and that of my colleagues and the workers involved in production.

In 2008, after completing five years at the Ho Chi Minh City University of Fine Arts, I began working as a sculptor using stone as my primary medium. Alongside a team of about five, I travelled across regions from Da Nang and Binh Dinh to Phu Yen and Ba Ria - Vung Tau, taking on various projects, ranging from civil construction to bridges and roads, from carving Buddha statues to restoring temples. Those years of labour as a stone worker brought a stark realisation: nature was being stripped bare, and people were unknowingly damaging their own health and that of the wider community. Within just five years, I witnessed flourishing forests reduced to barren land and lifeless quarries…

Returning to Saigon, I shifted to making statues and other items from composite plastic, a widely used material at the time. Plastic was everywhere, from furniture and sinks to fish sauce tanks. But the harsh chemical odour from butanox acid and the fine dust of fibreglass revealed their toxicity. I could feel the harm it was doing to the body. That became the turning point. I was compelled to find an alternative, something both environmentally friendly and versatile. Working with recycled cardboard opened up a world of discovery. I devoted time to studying its characteristics, tested countless techniques, and eventually developed a method to craft distinctive furniture and long-lasting sculptural pieces.

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How have you brought practicality to sculptures and vice versa, making artistic creations friendly to everyday people?

I want to dissolve the line between art and life. My sculptures are created to serve different purposes—interior accents, features in public areas, or everyday design elements. I believe art is not just to be observed but lived with. When a work becomes part of one’s daily surroundings, it carries greater meaning. That’s why I create furniture that incorporates sculptural elements, such as Waves or Girl Chair. These are not just functional objects, but artworks that live within the spaces they inhabit.

How do you incorporate the aesthetics of sculpture into your architectural works?

Sculpture and architecture naturally inform one another. I often contribute to both interior and exterior design projects for luxury hotels. In these collaborations, sculpture becomes a focal point, bringing a distinct identity to the space and shaping an experience that guests remember.

In your creations, is there a distinction between work and product?

To me, the line between a work and a product is very fine. A product becomes a work of art when it carries originality and creative intent. At the same time, an artwork can take on a functional role in everyday life.

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From the moment you create an idea to the moment you realise it with the finished product, what is the most difficult stage for you?

The most challenging stage is probably transforming an idea into form. I need to find a clear and specific way to express my concept through shape. My process usually begins with hand-drawn sketches from multiple perspectives. From there, I move to 3D modelling software such as 3Ds Max or ZBrush. Once I’ve arrived at a satisfactory form, the rest tends to flow. The use of modern tools—AI, CNC, laser cutting, or plastic printing—has made it easier and more precise to bring my ideas to life.

Doing art and doing business: what do you think of these two? Will you divide the roles, or manage both by finding your own balance?

I don’t see art and business as opposing forces. They can, and should, go hand in hand. Business provides the means for me to keep creating and to share my work with a wider audience. I’ve been running Atelier Saigon independently since 2016. Growing an art-focused enterprise demands continual creativity. At the same time, managing budgets or navigating legal frameworks are equally important, and I take care of those myself too.

A work that defines Tran Thien Nhut’s style at present?

Creativity has no boundaries. I’m still exploring both my own identity and the world around me. Please look forward to what’s coming next.

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