This series of paintings is constructed from the Áo dài—the traditional dress of Vietnamese women—sourced from the artist’s own family archive. Often tailored for a single occasion, many Áo dài are worn once and then stored away, each preserving a trace of the wearer’s body and moment in time. Pham weaves these garments into the fabric of her work, embedding buttons, sequins, embroidery, and collars—visible markers of the hands that made and wore them. Onto these intimate surfaces, she paints reimagined landscapes and folklore passed down through her mother and aunties, transforming personal memory into collective myth and visual storytelling.

​

These works integrates these cultural narratives, using the Áo dài fabrics as a canvas to depict imagined landscapes and stories, thereby intertwining familial heritage with national symbolism. The piece invites viewers to reflect on the layers of history, memory, and identity embedded within the materials and motifs.

​

Banyan no.1

The inaugural piece, Banyan no.1, draws inspiration from the banyan tree—a profound symbol in Vietnamese culture. Revered as a bridge between the human, natural, and spiritual realms, banyans are often found at village gates, temples, and communal spaces, serving as living altars and gathering places. In folklore, the banyan is linked to tales of spirituality, the moon, and enduring love, such as the legend of Chú Cuội, who is said to reside on the moon with a magical banyan tree.

​