Being born at the cusp of the Year of the Rabbit (cat) and the Year of the Tiger offers the literal meaning for Hoàng Phúc's artist name, thố đầu • hổ vĩ, but he hopes it carries a metaphorical one, as well: “a humble beginning but a positive end,” he explained to Saigoneer. thố đầu • hổ vĩ’s origins may be humble — he started seriously focusing on illustrations just four years ago when he started university — but he has already reached remarkable achievements, as evidenced by three projects he shared with us.
“Vô công,” “Hội,” and “Trăm hoa đua sắc” each reveal Hoàng Phúc’s unique style that blends cultural materials, images, and indigenous symbols from Vietnam and East Asia to tell contemporary stories concerned with existential issues, including freedom, loneliness, and feelings of uselessness. Notably, he concerns himself with multi-piece projects as opposed to one-off illustrations, due to his belief that artwork operates best when several images come together to tell a concise, if not always obvious, story. Whether his own work or that of others, he explained: “Many single paintings with the same concept that complete a story together satisfy me more.”
“Trăm hoa đua sắc,” (100 Blooming Flowers), for example, is a 2023 project that captures his experience of visiting art exhibitions and museums. He observed that other patrons were not there to enjoy the art, but rather to take photos and videos of themselves for social media, with the artwork simply serving as a trendy backdrop.
‘Chapter 2: Wandering’ (left) and ‘Chapter 3: Witnessing’ (right) from “Trăm hoa đua sắc.”
He proceeded to his experiences with visual references from Vietnamese paintings, photography, architecture and traditional crafts. The small details, such as stone lion statues, lacquer textures, and rounded railing pillars, all connect the works with cherished traditions of visual identity. However, the characters, seen posing and playing but never admiring the work, offer criticism about the younger generation and its relationship to art. “Trăm hoa đua sắc,” was released in 2023, and Phúc said that, on further reflection, he believed “maybe it is a different form of experience for them. They are not really interested in exhibitions, but are spending time to care about themselves in an art space.”
Meanwhile, a newer project takes a more lighthearted tone, underscoring his thematic versatility. “Hội” concerns ítself with moments of childhood play and nostalgic merriments. Vibrant colors and bold lines complement the begone fashions and festival activities.
Two untitled pieces from “Hội.”
In addition to the children occupied with carefree games, “Hội” contains striking depictions of slightly surreal roosters. While not overtly addressing the project’s theme, within the context, the bird’s throat feathers call to mind exuberant confetti or firecrackers, while the looping legs tipped by graceful talons suggest the sleek seriousness of play. But this is just the way it makes me feel. Such room for interpretation is intentional. As thố đầu • hổ vĩ explained: “I often use metaphors and metonymies to develop a story. A second layer of meaning lies beneath the stories, the eye-catching images will always be a gift to me every time I watch and create works.”
Texture, color and details flirt with metaphors in this work from “Hội.”
“Hội” suggests a sense of lurking danger amidst the play.
Select teaser images from Hội have been appearing on his social media alongside some from “Vô Công” (No Work), another project set for release soon. The series of illustrations seeks to capture the feeling of helplessness and emptiness a person feels when unemployed, when the world’s economy is struggling or more broadly when a person simply feels useless in their lives, the artist explains.
Modern emotional states acquire traditional aesthetics in “Vô Công.”
Taken side-by-side, these sister images from “Vô Công” reveal Thọ đầu Hổ Vĩ's interest in textures and patterns.
This story, perhaps immediate and relatable to many people in 2025, borrows imagery from the past. Ceramic pots, imperial-era headware, a pagoda, and a quang gánh carrying an individual remind viewers that ennui is a timeless element of the human experience. One of thố đầu • hổ vĩ's favorite works to date, it serves as a good introduction to his work and his overarching interest in works that contain “a realistic theme expressed in a romantic form.”
Internal turmoil seems to create a setting of celestial lastitude.
Only 26 years old, Phúc likely has a long career ahead that will be filled with surprising developments and beautiful fascinations. Pressed about his future plans, he told us: “Right now I'm interested in telling a long stories with concepts (courage, love, adulthood, etc.) and specific, touching stories the way [a] mangaka does; not exactly manga-like artwork, but maybe a more narrative and long-term project.” Regardless of what lies ahead, his work will be very worth keeping an eye on.
Altered colors and textures for the same images result in radically different moods.
Perhaps there is jubilation to be felt in the absence of work.
To view more artworks by Phúc, visit his Instagram account @thodauhovi.
[Top image: An untitled work from “Hội”]
