Nhu Xuan Hua (b. 1989), born in Paris and currently residing in London, is a distinguished fashion photographer recognized globally. She has collaborated with a wide range of brands, such as Dior, Levi’s, and Universal Music, and contributed to magazines like Vogue, TIME Magazine, and The Wall Street Journal. The artist often infuses her work with elements of her Vietnamese lineage, creating stories that explore concepts of selfhood, roots, and individual history. As a descendant of a family that fled to France following the Vietnam War (1955-1975), Nhu Xuan Hua often felt disconnected from her ancestral roots. Her solo show at the Fotografie Forum Frankfurt, Hug of a Swan, addresses this, transforming interviews with family members into dreamlike portraits, digitally altered images, and a site-specific installation. Bodies transform into carriers of stories while objects become gateways to new realities imbued with memory and tradition. In 2022, we discussed her exhibition launch at Huis Marseille, Amsterdam.
Q: How much does your identity inform your work as a photographer? How do heritage and tradition play into your work?
NXH: My latest series is deeply influenced by my Vietnamese roots and upbringing. An example is my series you and me, the fish and the moon, which is a clear homage to Vietnamese dance and opera, seen from a perspective of someone rediscovering their culture and language. My works, vows, oysters and tangerines and sharp tongue, round fingers offer more nuanced references to my childhood memories in France. I also strongly believe in the significance of sound in the entire process. Heritage and traditions are often conveyed through storytelling, and they may not always have physical manifestations. These stories can be communicated through a song or a conversation.
Q: Can artists create work that doesn’t reflect their socio-geographic-political context?
NXH: Our surroundings are at once harsh and beautiful. I want to think that we should forgive humans for their inherent human-ness. There are days when I can and other days when I can’t. We exist in a political world, hence our actions inevitably impact others. It’s futile to believe that one can escape being part of the larger scenario. Expressing gratitude or recognizing the place we inhabit is part of any genuine narrative and is conveyed authentically. I believe there’s a significant distinction between expressing anger and adopting violence when advocating for your beliefs. For me, an “optimistic” image is not merely the work of an idealist; it’s about harboring hope. Such positivity often serves to offset the darkest places one has encountered. For some, a vase with flowers can be merely decorative; for others, it unveils a universe. Both viewpoints are intriguing and equally valid, as long as you delve into why the work evokes such impressions in you.
Q: With your knack for capturing the human form and understanding of shapes and lines, how do you play with the representation of figures?
NXH: A body is meaningless without its narrative. They do not support each other but shine because of the other’s existence. I have been exploring my family history for a while now; the individuals I photograph often mirror my observations of my relatives’ characteristics, even when unintended – it somehow seeps in. This might be reflected in a hairstyle, a precisely drawn black kohl eyebrow, the positioning of the legs, or a hand gesture that reveals much about one’s emotions. Our minds and spirits are remarkable vessels for carrying stories, whether vocalized or not. Investigating the past implies studying relationships, both physical and emotional. Our bodies are powered by care and love but also by pain, which is just as crucial to represent.
Q: What stories are you weaving through your artwork?
NXH: The title of the exhibition is Hug of a Swan; it represents an imaginative story wherein photographs are transformed into a serene refuge. In essence, it is a homage to the worlds of the past and present and a final embrace before releasing past memories. It’s a swan song for an irreversible farewell – a symbol of acceptance of past experiences, narratives, falsehoods, and reimagined realities shaped by life itself.
fffrankfurt.com | Hug of A Swan until 9 April
Credits:
1. Nhu Xuan Hua, I’m home late, don’t you care where I’ve been? Excerpt from Honey Babe, 2020 © Nhu Xuan Hua, 2023
2. Nhu Xuan Hua, from the series Velvet (2016). Image courtesy of the artist.
3. Nhu Xuan Hua, The distorted bench. Excerpt from Vows, Oysters and Tangerines, 2019 © Nhu Xuan Hua, 2023
