CREDITS:
Illustration of Phung-Tien Phan by Maria Chen, inspired by a photo by Niklas Taleb
ALL WORKS: ©Phung-Tien Phan
courtesy of project native informant, London
1 - 4 volkswagen (Romeo and Juliet), 2025
wood, glass, Perspex, found coffee machine, artists
clothing, photograph, marble, acrylic, dolls house
furniture, incense sticks, found branch, ribbon, live
flowers and light
186 x 82 x 48 cm (73 1/4 x 32 1/4 x 18 7/8 in)
5 - 7 dog, 2025
Single-channel HD video
3 mins, 39 secs
8. girl smoking, 2025
acrylic and varnish on canvas
80 x 100 x 2 cm (31 1/2 x 39 3/8 x 3/4 in)
9. special sketch, 2025
acrylic and varnish on canvas
80 x 100 x 2 cm (31 1/2 x 39 3/8 x 3/4 in)
10. girl thoughts, 2025
acrylic and varnish on canvas
80 x 100 x 2 cm (31 1/2 x 39 3/8 x 3/4 in)
11. doesn’t work at project native
informant, London
12. detail: figure 3, 2025
wood, cotton, artists clothing, cellophane,
paracetamol box and Tampax
106 x 299 x 90 cm (41 3/4 x 117 3/4 x 35 3/8 in)
13. detail: figure 3, 2025
wood, cotton, artists clothing, cellophane,
paracetamol box and tampax
106 x 299 x 90 cm (41 3/4 x 117 3/4 x 35 3/8 in)
Phung-Tien Phan’s practice is an intuitive and playful exploration of identity, domesticity, and late capitalist anxieties. Born and raised in Essen, Germany, to Vietnamese parents, Phan weaves together personal history, cultural translation, and everyday absurdities in her sculptures, videos, and installations. Her latest exhibition, “doesn’t work”, at London’s Project Native Informant, reflects on themes of labour, materiality, and the messy intersection of the professional and the personal. In this conversation, she speaks with CNTRFLD. about her artistic journey, the role of humour in her work, and the importance of embracing imperfection.
CNTRFLD. Heritage and Identity
How has your upbringing in Essen, Germany, as a woman of Vietnamese descent, shaped your perspective on identity and cultural translation, and how do these themes manifest in your work?
PTP. Haha, okay quite a tough first questions :). Hmm... I think Essen had quite a big impact on me. It’s a very un-spectacular place to grow up. A city which was once very big on coal and steel industry and about to transition into decay.
My parents who fled the aftermath of the Vietnam war never talked about the past. They were always moving and constantly working to move forward. So, these different directions happening around me kind of gave me a sense that many different things can exist at the same time and that aren’t always linear. I think in regards of my works that this multi-perspective is somehow a way to give me ease to not find the right answers.
CNTRFLD. Artistic Journey
What drew you to pursue a life as an artist, and how did you come to embrace the diverse mediums that you work with today?
PTP. I think it all fell very naturally. I wanted to become a fashion photographer first and started to do a fashion magazine mock up. From cover, Ads, Spreads and interior design. I wasn’t that good at any field particular but realized that I like to copy the whole format of a “fashion magazine”. So, without really pushing I just copy other forms - I did a lot of videos which looked like trailer for a movie for example. And today... I just think different mediums work better for what I want to express and its mostly a more instinct based decision process. Also, sometimes different mediums can help to emphasize each other. I don’t know... it’s a little bit like putting a dash of salt into a chocolate cookie and somehow it tastes better.
CNTRFLD. Conceptual Foundation
Your current exhibition at Project Native Informant, “doesn’t work”, explores themes like labour, the domestic sphere, and patriarchal capitalism. What inspired you to focus on these themes, and how do they connect with your personal experiences?
PTP. Honestly, I kind of focussed more on the “doesn’t work” theme than the others. This exhibition was a more emotional approach. I started blank with sketches particular for the gallery space... and as I was a bit lazy... so I thought I could somehow let these sketches become more than sketches. So, the whole process of the show also became the show. It just felt fitting for the times to not overproduce. Bunny Sukino/Sailor Moon is bad in school, loves to eat food and being lazy. Suddenly she crosses a cat who awakens her to save the world from the dark.
CNTRFLD. Video Work
The video piece “dog” (2025) is central to this exhibition. Could you walk us through the creative process be-hind it and the narrative you hoped to convey?
PTP. It also came very spontaneously for me to film the sequence of the dog wandering through my apartment.
I liked the idea of having something stupid cute looking being the main character of my video. The dog is a very accepted animal by the audience - so I thought this play between real and un-real can be very interesting in combination with the voyeuristic view into my personal belongings. Of course, all these thoughts came to me after filming. Since its a one-shot 3 min video and I was moving the dog with right hand and holding the phone with the left hand... all came more natural together. During editing... I realized some more serious loo-king intro would be good. And I choose a lot of diagrams of different topics cut in a Dia-show style. Then, I added the sound affects last. I think I added 3 soundbites to give the dog more life.
CNTRFLD. Intersections of Domestic and Professional
In your work, the domestic appears as both a literal and conceptual space. How do you navigate and critique the intersections of the domestic and professional, particularly as a female creative?
PTP. I don’t know. I think my mind is always in 5% work modus... and I spent a lot of time at home. So, the chances of having an idea or trying things out at home are kind of high. I just go to the studio to execute for example wood works. Maybe to me it’s just a reality of my daily life... that there is not a clear cut between work and living space... but I am sure I am not the only one.
CNTRFLD. Materiality and Symbolism
Your sculptures, like Volkswagen (Romeo and Juliet) and the split trestle figure, seem to carry layers of symbolism. Could you elaborate on your choice of materials and how they contribute to the storytelling in your work?
PTP. For the Fig3 (split trestle) ... it kind of represents a character or a phase in my life of me. This whole show was very art student memory vibes. So, the Fig3 is in a chill position wearing unisex clothing - not new but Prada. It’s split to have a fun moment and appearing like a magic trick. I thought the gallery space looks very clean which is why the set-up is very Lo-fi. But then again, it’s particular, since it is all set up around the column in the gallery space.
CNTRFLD. Artistic Process
The abstract and experimental canvases in “doesn’t work” reveal a sense of vulnerability in the creative process. How do you approach balancing polished works with the rawness of experimentation?
PTP. I think figuring out this balance is very important to me. When I produce my work, I really want to be capable of doing things alone. But my standards are mostly low, and I am impatient. So, I cannot repeat things to get a better visual outcome. I am mostly happy with the first try. But of course, this depends. For example, the “Volkswagen” base needs to appear clear and on a carpenter’s level so I can fill it again with wonky stuff. And the filling can also be a process of putting things back and forth. I try to get to the minimum amount of what is needed. I just watched “Culinary class wars Ep 5” – “Not too sweet”, said the jury.
CNTRFLD. Humour and Playfulness
Your work often incorporates humour and a sense of play, such as the mischievous stuffed dog in “dog” (2025). How do humour and play factor into your practice, and what role do they serve in addressing complex themes?
PTP. I don’t know... I want it to be easy to understand. And a joke is a good starter, I think.
CNTRFLD. Forthcoming Projects
Can you share any details about upcoming projects or exhibitions and how they might build upon the themes explored in doesn’t work?
PTP. I will be doing so far 2 more shows this year. One at Schiefe Zähne and one at Misako & Rosen. It’s the fullest year so far in my life in this regard. I am really looking forward and try to take it easy. So first I will look at the space and then see. I am not sure if they build up “doesn’t work” but I feel like it’s an emotional year... so there might be connections.
CNTRFLD. Advice to Emerging Artists
What advice would you give to young artists, especially those navigating similar diasporic experiences, who aspire to make a career in the arts?
PTP. Hmmm... Trust your feelings. Try things out. Doing embarrassing stuff is okay. Do non art related stuff.
About the artist.
Phung-Tien Phan (b. 1983, Essen) is a German-Vietnamese artist whose work spans video, sculpture, and installation, exploring the social and cultural implications of everyday life. Her practice engages with themes of performativity, selfhood, and late capitalist domesticity, often through an absurd and intuitive lens. Using lo-fi aesthetics and DIY content creation methods, Phan critiques the roles imposed by societal expectations, from gendered labour to diasporic identity. Her works have been exhibited at Kunsthalle Basel, CAPC Musée d’Art Contemporain Bordeaux, and Kunstverein Harburger Bahnhof, among others, reflecting a sharp yet playful examination of contemporary existence.
