Gnocchi Artyst is an installation artist who live in Toronto, Canada.



           "Ngoc, you have been a constant surprise to me! I have been seeing you in many phases throughout the academic year: some good ones, some very good ones, some 'normal' and some pretty bad. Always, the impression that I had in talking and interacting with you, was a positive one, meaning that I always felt that I had in front of me an honest, sincere, 'good' human being. These characteristics are for me some of the very basic ingredients of being an artist, together with dedication, confidence, vision, talent and desire for communication. The idea that you had in mind when over two years ago you started to think about art school, Europe, and a posibble artistic career is little by little becoming real. Step by step, with patience and commitment you are building a new Ngoc. Now, you are 'Gnocchi' and who knows what else. You have faced depressing moments in the process of reshaping your identity, because you were trapped into the existential dilemma of leaving the safe ground of your cultural values without seeing any new ones at the horizon. In the meantime you were surrounded (western society and culture) by the evidence of values that are quite shaky, transient and sometime even brutal. So the question was and may be still: is it worthwhile in the name of art? I myself had to answer that question again and again a few times simply because an inquiring life makes you continuously face new thresholds (think about my two kids for example). I have great faith that your answer will be compounded by maturity and a sense of responsibility, but also glazed with your 'crazy' head, artistic vision and 'clean/unspoiled' eye. In a word, I have faith in you and in your deep understanding of the process you are facing. My intuition tells me that you love the process and the challenge, but I still do not know your 'horizon line' or if you really need one. Keep in touch and let me know if I can help you again because I am still curious about that line."

           (Lorenro Pezzatini, Head of Graduate Studies - Final Review, Spring 2003, SACI)

           "Ngoc demonstrated that she was able to realize some of her theoretical ideas into items and installations that others can enter and share her creative experience. What stood out most was the overall feel and flow had interesting and valid appeal, it was the trace of each within one room that held the most power." (Refering to In & Out series)

           (Dena Eber, Digital Arts Chair - Review, Spring 2004, BGSU)

           "The committee feels that her work is strong, however, she seems resistant to push her work through other possibilities in order to understand the implications of her art. The committee is somewhat frustrated in understanding their role in her success. In any case, the committee was in agreement on the success of her work, but would like to see her test out or consider suggestions, especially for her 'chess' piece." (Refering to It's a beautiful jar, MUTE)

           (Dena Eber, Digital Arts Chair - MFA review, 2004, BGSU)           

           "As we had a chance to observe in the shows we have organized at La Corte gallery, an art project is a result of several elements, which may include planning, equipment, space, deadlines, money, documentation, as well as collaboration and communication about the project. All these elements are relevant in producing a piece of art, and all of them may in a rather decisive way influence the results, the reason and the esthetics of the work itself. When we become aware of that, I think it is much easier to accept art as a full time activity or as some more romantic people would like to say a way of life. Ngoc, in my view, has all the potential for a full time artist. She has a poetic mind, and she is sufficiently curious to disregard the obvious (although she is in an authentically naive way attracted to stereotypes). The work she produced this semester as part of the show Fearless, at La Corte gallery, was a good installation work (Ngoc has a good sense for creating a powerful image). It involved a lot of work, and with minor critical points (sound...) I would consider it to be one of the best installation pieces that have been produced at SACI in the past few years. The floating rats looked great in the gallery space. The rats, made out of wire and paper were sculptures that varied in size, hanging from neatly distributed strings. The rats formed a sort of pyramid suspended in space, directed towards the moon, which was projected on the ceiling. Most gallery spaces in Florence have a characteristic architecture that is often difficult but also very challenging to adapt a work to. Ngoc has done, I believe, a very good job of incorporating the architecture of the gallery space into her own work. (Refering to Escape)

           Based on this work, and also others she did as part of her own enthusiastic research (the spontaneous works she did outside of school, on the bank of Arno, or on the coast in Maremma, those circles in the sand she stubbornly recreated over and over again) observing Ngoc as an art case, and not only as an art student, I would like to conclude that her work could have a very interesting development in the field of multimedia installation; that her future research in multimedia deserves to be given full support, and that none of the mediums need to be imposed on her on the basis of a degree pursue (especially those that exclude manuality, or space oriented projects). She needs to be given (and give herself) freedom to apply her poetic thought to materials and means she decides are appropriate." (Refering to
My Wild Life Is Coming Back
and Daily Walking)

           (Dejan Atanackovic, Digital Multimedia Instructor - DIS Evaluation, Spring 2003, SACI)

           "The work was a sentence about 20m long, each letter about human size, all letters composed out of tree branches, except for an 'O' which was represented by a bicycle wheel. The text read: MY WILD LIFE IS COMING BACK (this, apparently enigmatic sentence, refered to Ngoc's disappointment by the act of previous removal of wild vegetation off the river bank). She then acted as a guide to her own 'site', by bringing friends, and she also did a very thorough photographic documentation of the result of this activity. Personally, I was very pleased and impressed by this work, not only by the obvious effort and almost obsessive dedication that was involved in its creation, but also by the simple, yet subversive message. The work was an obvious appropriation of a public space, yet it involved neither accumulation nor removal. It was an act of language, a sentence that was entirely related, both in thought and in material, to its own space."

           (Dejan Atanackovic, Digital Multimedia Instructor - DIS Evaluation, Fall 2002 , SACI)

           "By incorporating in the work the context of a site, an artist interferes with the context itself adding to its meanings and ingredients that was previously inexistent, and that exist only in this particularly interation between the space and the work. In Ngoc's work this interaction was particularly visible and the work seemed to obtain a particular life only at the moment of interaction with the space. This was, in my opinion, along with well composed narative elements, perhaps the most challenging part of Ngoc's research." (Refering to The Past )

           (Dejan Atanackovic, Digital Multimedia Instructor - DIS Evaluation, Fall 2002 , SACI)

           "It might be a somewhat arbitrary observation that her thoughts and ideas reflected her origin and culture, as she has an unusual ability to observe, as well as interact with the environment. An example for that is the work she produced for the SACI garden, which consisted in a simple structure that gave shelter to minute photographic details of the garden itself, water drops on leaves, plants, pebbles... all those details that in Ngoc's opinion remained unjustly unobserved and that her careful and patient observation has brought to our attention. With all formal problems that could be taken in consideration (the way the pictures were displayed was visually problematic, graffiti notes on plastic covers were slightly out of context) this work remained an interesting and rare tribute to the invisible, which is a beautiful operation in itself." (Refering to EnvironMental-Detector)

           (Dejan Atanackovic, Digital Multimedia Instructor - DIS Evaluation, Fall 2002 , SACI)


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