Breathing everyday life into sculpture

As sculpture increasingly serves functions beyond artistic value alone, sculptor and founder of Atelier Saigon Tran Thien Nhut has chosen a more personal path, integrating sculpture into everyday life.

While much of contemporary art tends to lean toward the commercial and abstract, Nhut takes an alternative approach. He brings sculpture closer to daily living through familiar items like chairs and cabinets. Cardboard, often seen as disposable or insignificant, becomes his material of choice. In his hands, it takes on new life: pliable, approachable, and provocative. In this conversation, he shares insights into his creative process, his dedication to the craft, thoughts on the emerging generation of artists, and why he continues to welcome learners, even those without formal training.

Above I’m always open to sharing my experience with younger creatives, not just in sculpture but across other disciplines too (photo: Kyanh Tran)

I’m always open to sharing my experience with younger creatives, not just in sculpture but across other disciplines too (photo: Kyanh Tran)

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What path led you to the art of sculpture?

For me, it’s been an organic journey, a continuous pursuit of the beauty within each material’s texture. I’m constantly seeking out substances that spark curiosity. Their unique character often sets the direction for my work, like a quiet dialogue that unfolds during the creative process.

How has your origin and hometown influenced your style of work?

I was born in Gia Lai, in the Central Highlands, surrounded by forests, rivers, wildlife, and local communities. My childhood revolved around buffalo herding, swimming in streams, and losing myself in nature. These early experiences left a lasting imprint and became instinctive influences. I later drew from that memory, borrowing elements of nature both as material and as muse. Even now, that instinct continues to shape the language of my art.

Do you often work with young sculptors? How do you see the new generation compared to those you’ve previously worked with?

Absolutely. I’m always open to sharing my experience with younger creatives, not just in sculpture but across other disciplines too. Last summer, a student from France returned to intern at Atelier Saigon, and I mentored him for an entire semester. I’ve also welcomed many young learners outside the formal art world, people simply drawn to sculpture. They come to learn the basics, from hand-shaping to using 3D design software. Looking ahead, I plan to open a space or centre dedicated to helping anyone access the world of sculpture.

This profession offers many new paths. Unlike my generation, which relied solely on hands and rudimentary tools, today’s young artists have access to advanced technologies from AI and CNC to lasers and robotics. These tools are transforming the creative landscape, expanding what’s possible. There’s also easier access to the global creative scene, encouraging bolder, more contemporary expressions.

Above I don’t believe sculpture is solely a pursuit for those with financial means (photo: Kyanh Tran)

I don’t believe sculpture is solely a pursuit for those with financial means (photo: Kyanh Tran)

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You once said that sculpture requires conditions to experiment and commit. So for those who do not have much economic means, how can they approach sculpture and still manage to make a living from it?

I don’t believe sculpture is solely a pursuit for those with financial means. When I first studied this discipline, my friends and I came from modest backgrounds, and many had to work extremely hard just to stay in the profession. Sculpture demands direct involvement from the artist, whether it’s production, moulding, or shaping, so it can be quite physically demanding. But at the same time, it’s incredibly versatile. You can work in architectural support, construction, interiors, even in toy design or creating accessories for the fashion and garment industries. Sculpture has made its way into many aspects of life, it’s just not always labelled as “high art”. Once you find the right way to apply it, sculpture can absolutely become a viable livelihood.

Above Like any other art form, sculpture must evolve alongside the times (photo: RABHUU)

Like any other art form, sculpture must evolve alongside the times (photo: RABHUU)

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In your opinion, what will help sculpture move forward in future, beyond applying it to daily life as you currently do?

Like any other art form, sculpture must evolve alongside the times. It needs to stay connected to fields like architecture, construction, and industry. These areas provide rich ground for sculptors to contribute, creating a meaningful relationship between the work and the spaces people inhabit. When that kind of multidimensional engagement happens, artists gain more room to explore creatively, producing work that is both artistic and functional. That’s how sculpture keeps renewing itself.

Looking back on your journey, do you have any regrets? Is there anything you wanted to do when you were younger but couldn’t, and now hope to revisit?

In truth, I don’t feel any regrets, whether for things I have done or haven’t. I’ve always been passionate, often working from morning through to night, sometimes even straight through, to bring my ideas to life. I’ve explored almost every creative urge I’ve had.

To me, creativity is always in motion. It’s less about what you’ve already achieved, and more about recognising what still awaits. If there’s something left undone, the best time to begin is now. It’s never too late.

Article published from the original article in Tatler Vietnam, May 2025 issue

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