en Copyright 2019 Fri, 06 Jul 2018 12:28:32 -0400 Wed, 31 Dec 1969 19:00:00 -0500
Research for the Prevention of Primate Cities

2015
Letterpress, woodblock, silkscreen, collage, pencil, ink, photocopies, coffee, paper, book-board, and silk
12” x 9” x 2”

Research for the Prevention of Primate Cities by Tammy Nguyen

You are looking at a facsimile of a US military document interwoven with decorated vellum. On a typically sweaty afternoon in 2010, a friend and I were driving around Ho Chi Minh City, when we stopped into a bookstore, since disappeared, called Bookazine, on Dong Khoi Street in District 1. The owner was an old fellow and his store sold only old things so it reeked of valuable history and hot dust. Among the piles of old maps, old stamps, and old black and white studio photographs, I found a copy of the 1969 US military document, a proposal to reconstruct the city of Danang on Vietnam’s central coast into a sister metropolis to Saigon. This exhaustively researched text, written under the assumption that the United States would win the war, emphasized the urgency to develop Danang because of Saigon’s status as a Primate City.

Some pages in the original were missing. This reproduction was printed on a Staples black and white photocopy machine, using 80 lbs. 11” x 17” Xerox Digital Elite Gloss paper, selected for its resemblance to the shiny coated paper used by the US military. The Xerox paper was then stained with Dunkin’ Donuts Dark Roast coffee to mimic the yellowing of the original.

The original document was printed on 8.5” x 11” paper and was comb-bound. The reproduction also has comb-binding punches, but it was printed on 11” x 17” paper that was folded into folios, and then punched, so that it could be sewn together into a rounded-spine book. Each folio of the reproduced document is separated by a folio of green vellum, silkscreened with blue-grey depictions of the red-shanked douc langur and plant cut-outs from comic books.

The red-shanked douc langur is an endangered species of primate that lives on Son Tra Mountain in Danang City. There are only a few hundred of these primates left, but they have been in Vietnam forever through the thousand years of Chinese domination— through colonization by the French and Dutch, and through all the battles between America and the Vietnamese Communists.

Their arms and shins are orange-red, the hue of bricks. Their bodies are silvery grey, like slate chalkboards, with white streaks along their forearms and calves. Their beards are the same warm white. Their faces are blushed with the orange-red of an unripe persimmon. Their eyes are completely black, the blackest you have ever seen, the black of outer-space. Their eyes are glazed wet, like shiny tapioca pearls.

The collaged plants are cut in the shapes of local plants from Son Tra Mountain. They are cut from “The ‘Nam” comics— a Marvel series which ran from 1986-1993, in which each issue was a make-believe account from the Vietnam War told from the point of view of a fictional soldier. The stories are told through many dramatic shifts in perspective and through those shifts, you, the reader, become a participant in the war: soldier, journalist, spy, civilian. You fly in a helicopter over red swampy water and see how the jungle extends into infinity. You get up close with the wounded, and then an explosion splatters you onto the next page. Napalm drops from your plane into the unknown. There are eyes everywhere, looking up and down, in moments of rest and moments of fright.

This book, “Research for the Prevention of Primate Cities in Vietnam,” is sewn and bound with a rounded spine. The cover is wrapped with an Italian textile that was backed with Kozo paper. The end pages have been silkscreened and collaged in the same manner as the imagery on the green vellum, but on 60 lbs., text weight, Zerkall German Ingres Mint paper. The title page and this text is printed with polymer type using the fonts Bureau Grotesque, Pirate Incognito Italics, and SF Sports Night. The text on the cover was hot-stamped with holographic foil and uses the fonts Bureau Grotesque and SF Sports Night.

This book is an artist book and also a reference for the accompanying artist book entitled “Dana Ng in Danang City,” which takes the shape of a red-shanked douc langur. That book includes some excerpts from the 1969 US military document, but the stories were all written by me. The images were created through collage, watercolor, graphite, ink, colored pencil, and silkscreen. The text was printed on polymer type and the fonts used are Bureau Grotesque, SF Sports Night, and Pirate Incognito Italic. The text block paper is 60 lbs., text weight, Zerkall German Ingres Mint paper. The book is constructed by a drum-leaf structure and the book boards are laser-cut from 1/8” MDF. The fold-outs throughout the book are made from cardstock with other various papers. The whole book is wrapped in designer silks which have been backed with Kozo paper. The langur's eyes were hot-stamped with holographic foil. These two artist books should always be viewed together.

Two editions were made and all of the books were created at my studio in Westport, CT and the Center for Book Arts in New York City. I would not have been able to create them without Jesse van Buren and David Richter, who edited all of my text and listened to me develop this story from the beginning. I have also received so much generous support from the Center for Book Arts, The Pierrepont School, and Eleanor and Andrew Beer. Today is February 9th, 2015. I am at home, writing in the New York.

]]> Wed, 31 Dec 1969 19:00:00 -0500
Dana Ng in Danang City

2015
Letterpress, woodblock, silkscreen, collage, pencil, ink, paper, MDF, and silk
18” x 24” x 1” (open and closed)

Dana Ng in Danang City by Tammy Nguyen

1: THE RED-SHANKED DOUC LANGUR

The red-shanked douc langur is an endangered species of primate that lives on Son Tra Mountain in Danang City. There are only a few hundred of these primates left, but they have been in Vietnam forever through the thousand years of Chinese domination, through colonization by the French and Dutch, and through all the battles between America and the Vietnamese Communists.

Monkey Mountain is a jungle, but the langurs are easy to find. Look for them in the early morning, or in the late afternoon. Drive a motor bike up the mountain from either the tourist entrance on the south side of the mountain, or the military entrance on the north side. Both entrances lead to a curvy road, with no turns. There is no wrong way up, but when you start to see the trees get dense, turn off your bike, and walk it. Quietly, lightly, scratch your shoulder. They will respond to your scuffing noise. You’ll first hear something like the sound of rain, but it’s the sound of the langurs romping through the leaves of the canopy. Look high up, and you’ll see them.

Their arms and shins are orange-red, the hue of bricks. Their bodies are silvery grey, like slate chalkboards, with white streaks along their forearms and calves. Their beards are the same warm white. Their faces are blushed with the orange-red of an unripe persimmon. Their eyes are completely black, the blackest you have ever seen, the black of outer-space. Their eyes are glazed wet, like shiny tapioca pearls.

The red-shanked douc langurs live in clans: one dominant male, several females, and their communal offspring. Every day, for breakfast and again for dinner, the clan moves among the same group of trees. They pause on the branches of the figs and chestnuts to chew the leaves. They all sleep next to each other, in the center of their trees.

The red-shanked douc langurs walk in the trees. They balance on branches, and skip from bough to bough. Tree canopies are their ground. They don’t know what it’s like to touch the earth.

For years, Monkey Mountain was a safe place for the langurs. During the Vietnam War, the mountain was a US military base. The roads were restricted and too narrow for civilians to pass through. To the people of Danang City, Monkey Mountain was a view, a landscape.

But in 1997, the Vietnamese government opened Monkey Mountain for ecotourism. The Vietnamese-Ukrainian-owned Intercontinental Hotel won the bid to develop a resort on the lush slope facing Danang Bay. Today, Intercontinental Danang is the most beautiful and luxurious resort in Vietnam.

If you are lucky enough to visit or stay at the Intercontinental Danang, you will probably have to take a chauffeured car from the city. There is no obvious parking for visitors on motorbikes. Ancient dragons and present-day monkeys are carved in marble at the entrance like on an opulent altar-place.

One road leads to the Intercontinental Danang, accessible only from the other side of the Han River. It winds along the beach and through the overwhelming lushness of Son Tra Mountain. The road is paved smooth, modern, and wide.

But this road was too wide, too wide by two meters.

The red-shanked douc langurs have no cognitive grasp of the earth. They only walk on the canopies of the trees. The trees’ long branches extend into multiple pathways, but the branches can only reach so far from the roots. The trees have no cognitive grasp of how to grow from asphalt. The roads were too wide by two meters and the branches could not reach across.

When the road was built, it split up families of red-shanked douc langur. Despite being only a few meters apart, these families could never be connected again. The red-shanked douc langur has no comprehension of the earth, so the primates on one side of the too-wide road don’t know why they can see but not touch their parents on the other side.

They eat the same meals in the same places and see their parents on the other side. And they cannot touch them.

2. THE TOP OF SON TRA MOUNTAIN

Another name for Son Tra Mountain is Tien Sha Mountain, which translates to “Fairies’ Landing Mountain”. Ancient Chinese legend claims that fairies fly to the top of Tien Sha Mountain to play chess.

The mountain is so grand that outward from its peak you can see tiny islands in the South China Sea. You could imagine yourself jumping onto a cloud running express to the heavens.

The top of Tien Sha Mountain is a plateau as level as a chessboard. It is an inaccessible place where the fairies meet to contend over the fate of mankind.

3. DANANG CITY, A SOLUTION

On a typically sweaty afternoon in 2010, a friend and I were driving around Ho Chi Minh City, when we stopped into a bookstore, since disappeared, called Bookazine, on Dong Khoi Street in District 1. The owner was an old fellow and his store sold only old things so it reeked of valuable history and hot dust. Among the piles of old maps, old stamps, and old black and white studio photographs, I found a copy of the 1969 US military document, a proposal to reconstruct the city of Danang on Vietnam’s central coast into a sister metropolis to Saigon. This exhaustively researched text, written under the assumption that the United States would win the war, emphasized the urgency to develop Danang because of Saigon’s status as a Primate City.

What is a “primate city? Mark Jefferson first explored this type of city in 1939. He defines primate city in various ways ranging from capital to largest city; qualifying that the capital has to be twice as large in population as the next largest city. A Primate City is a “city that grossly outweighs its local national rivals in size and importance. Saigon, Bangkok, Manila, Phnom Penh, and Rangoon all primate urban structures, are at least five times as large as the next biggest city in their respective countries.”

More important are the detrimental effects attributed to these cities. They are thought to: 1. Hinder the growth and development of other cities within the country. 2. Control and dominate the cultural pattern. 3. Absorb technical skills and manpower. 4. Swallow-up available national and foreign investment. 5. Tend to consume more than they produce. (15)” Saigon [according to this document, was] a grossly overused city. Danang’s development, however, could offset Saigon and stabilize Vietnam.

Danang, one of South Vietnam’s six autonomous municipalities, is situated to the east of Quang Nam Province along the South China Sea. Danang is approximately 605 air-kilometers north of Saigon and is South Vietnam’s second city. Danang’s splendid physical setting demands attention. The following sums it up nicely:

It is at the latitude of Danang (16º N.) that the major elements of the Vietnamese landscape— the sea, the coastal plains, the mountains, the rivers— meet and combine in one spectacular scenic composition.

Here, at Vietnam’s “waist,” the green agricultural mosaic of the turtle coastal plain is interrupted by a half-mile high skyline— the Nui Hai Van spur of the Annamite Mountains veering east into he South China Sea.

A ten-kilometer gap in this intrusive mass makes space for a big blue bay from which the surrounding hills rise steeply into the tropical clouds. High grass clothes the foothills and the mountains are blanketed with luxuriant jungle growth.

The bay shore forms a graceful arc and is defined by the two rivers that issue into it, the Cu De from the west and Han from the south. Extending from the alluvial plain to the base of 2,000-foot high Tien Sha Mountain, once an island, is connected to the shore by an extensive sandpit formed by the opposing currents of the sea and the bay. By the ocean is the excellent six-mile My Khe (China Beach).

Punctuating the southern part of this strand is the picturesque group of historical limestone pinnacles called Ngu Hanh Son (Marble Mountains) which rise some three hundred feet out of the fine tan sand. In from the sea to the west bank of the Han River, on a rise of old river deposits, is the historical settlement of Danang.

Danang should have a bright future.

The mountain is so grand that from its peak you can see tiny islands in the South China Sea. These tiny bits of earth are called the Paracel Islands. Almost no civilians have ever been to this archipelago. It’s a place for experts, like navy personnel.

At 16°N, Danang City is at the same latitude as these Paracel Islands. You’ve got a straight shot at them from the top of Son Tra Mountain. In theory: control Danang and you control those islands. In theory: control the Paracel Islands and you control the oil coming from the Middle East. For Middle Eastern oil to reach the powers of Asia it must travel through the Straight of Malacca in Singapore and then into the South China Sea.

National borders are defined by land not by water. The Paracel Islands are like freckles of earth in the middle of the South China Sea that possess the power to extend and define national borders across the vast blue ocean.

Maybe this is why the Chinese and Vietnamese were having a water fight on the sea last summer. Supposedly, the Chinese were shooting Vietnamese ships with powerful water hoses as a way to provoke the Vietnamese to shoot with something else. It looked like they were fooling around— lost boys on an island— until someone could no longer take a joke.

Danang should have a bright future. Everyone wants her. Everyone has wanted her.

4. DANA NG, EYEBALL SUCKER

Dana Ng is a fairy who comes down to Son Tra Mountain to play chess. She is a young child of Chinese descent, though she has taken a Western first name. She’s got the blackest and shiniest hair,as black and shiny as an oil slick. Her complexion is white and gray like marble dust. Her uniform is like that of a Chinese or Vietnamese merchant dressed too warmly for the torrid weather, with enough pockets to fit stacks of cash and a big mobile phone.

Dana Ng is agile, a sprinter. She can squat down and leap up tirelessly. She plays chess every day like a mortal child goes to school. It’s an academic affair, a prerequisite to all other pursuits.

Dana Ng’s real major, though, is “heavens’ eyeball sucker.” The cunning girl targets the red-shanked douc langurs and sucks their eyes out through a long plastic straw. She collects them in a cup filled part way with mucus and blood. Sometimes she eats them, as they have the fun, gelatinous consistency of tapioca pearls. When out on a hunt, Dana Ng looks no different than a young Asian school girl enjoying a bubble tea after school.

The red-shanked douc langurs have eyes that are completely black, the blackest you have ever seen, the black of outer-space, and glazed wet, like shiny tapioca pearls. Used as bullets, they splatter with the viscosity of an egg yolk— making them one of the strongest adhesives on earth.

Dana Ng is an agent of China. In awe and admiration of American concepts and strategies, Dana Ng shoots the red shanked douc langur’s eyeballs from her straw. She targets old homes, stores, and any establishment that interferes with a 1969 US military plan to reconstruct Danang. Dana Ng interprets their goals and selects structures to mark. The plan focuses on several points:

Direction of Growth: Like most cities situated on bays, Danang will probably grow around Danang Bay, with minor growth towards Marble Mountains. Two considerations lend force to this statement: 1) the lands directly south of the old city which would normally constitute the natural avenue for growth, are marshy and unsuitable for urban use, and 2) the lands which lie around the bay, are drier, better drained and more suitable for urban use. […] Development of a Hotel Complex Along the South China Sea: The extensive sandspit, formed by the opposing currents of the sea and the bay which connects Tien Sha Mountain with the mainland is an ideal site for tourist hotels and apartments. […] A Miami Beach type of development, with hotels along the beach, for this area appears most plausible. […]

Central City Area (The Core Area): This old French area will become the nucleus of the new city center. […] Danang Bay Beach: Call it the “revolution of rising expectations”, (68) […] The fishing villages and squatters along the Bay may gradually give way to free the Danang Bay beach for recreational use. […] New Roads: Roads are the skeleton of a plan.

When Dana Ng finishes shooting at all of her targets, the obsolete structures are splattered with black eyeball explosions. From high in the heavens the other fairies can see exactly what needs to be destroyed to ensure a stable future for Vietnam.

Every summer, the fairies’ council gathers to plan their program of typhoons that will hit Danang City between September and March of the following year. One fairy will direct the sun to heat the South China Sea. Another fairy will pull winds from all places so that another fairy can catch moisture from the ocean. A team of fairies funnel this air into a hot upward spiral creating the eye of the cyclone. This is how a typhoon is created. Once it has gathered enough power, all of the fairies in the heavens settle around it, clutching bits of cloud so that it will not get away. Then, when the time is right, all of the fairies let go at once and the typhoon obliterates all that is obsolete in Danang.

5. BLIND PRIMATES

The red-shanked douc langur is complacent about losing its eyes. After the pounce, Dana Ng crouches over the primate’s body, one leg in the groin area, the other on its chest. She inserts the straw into the eye socket, and sucks— usually the whole eyeball comes out in one deep inhalation.

The langur’s eye sockets bleed for a few days. The blood dries up and it flakes away, like dead skin. As this layer of residue is shed, their empty eye sockets fade into a cold white color, revealing the back of their skulls. The bone is the color of clouds, and when they tilt their heads upwards, it’s as if they reflect the heavens— the origins of the future.

In the first few weeks of darkness, the red-shanked douc langur is disoriented. It doesn’t know what is day or night, when the sun shines or when the moon glows. The red-shanked douc langur gains new habits. Quiet times, when there are no sounds of birds or vehicles, become the new “day”. The red-shanked douc langurs become nocturnal.

Their days start at sunset, when humans are at home eating and birds are going to sleep. The families of langurs have selected new places to eat. Now, for the first time, they can touch the earth; they are not limited to moving within the trees. In darkness, the earth and the trees are the same, and everything but air is a surface. They cross the roads that were too wide, and find their families once again. They even enter the Intercontinental Danang, climb on the marble columns and walk on the opulent altar place.

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Prologue

2014
Screen print on paper with painted wood
26” x 20”
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Lecanopteris Mirabilis

2014
Hand-bound artist book: cut paper, ink, colored pencil, intaglio, and screen print on paper
25” x 26” closed; 41” x 34” open

NOTHING BLOOMS IN A FLOOD, BUT SPRING ALWAYS COMES BACK THE SAME.

1

LECANOPTERIS MIRABILIS

2

Why ask my generation? As is the generation of leaves, so is that of humanity. The wind scatters the leaves on the ground, but the live timber burgeons with leaves again in the season of spring returning. So one generation of men will grow while another dies.

3

One can easily overlook the fern called lecanopteris mirabilis, especially in a rainforest with other ferns. Like other ferns, the leaves of a lecanopteris mirabilis consist of a long straw like axis where smaller leaves are attached symmetrically. It looks old, prehistoric, and from another time. The lecanopteris mirabilis also appears sickly, as if age has gotten the best of it: its skin is covered in moles, and it grows out of a giant wart-like rhizome.

4

The lecanopteris mirabilis is old, prehistoric, and from another time, it is Philemon and Baucis who offered me shelter a long, long time ago.

5

There was a day when Zeus and I disguised ourselves as mortals; I was his son. We sought shelter from thousands of homes, all of which refused us until we came to the home of poor old Philemon and Baucis.

6

They hosted us with cabbage from the garden, smoked bacon, green and black olives, endive and radishes, cream cheese, eggs, nuts, dried dates, plum, fragrant apples, and purple grapes.

7

The wine kept welling up in the mixing bowl all by itself, but this was our doing. Pious Baucis and sweet Philemon were embarrassed by the phenomenon and wanted to kill their only goose for us to eat. They tried to catch the animal, but their frail bodies could not move fast enough. We told them to just let the goose live; spring was coming.

8

Zeus and I told Philemon and Baucis to climb to the highest point that they could, so that we could punish the thousands of people who did not shelter us. The old couple did as we told, and when they turned around they saw everything covered with water, except for their house. They heard the cries of mothers wailing, and some patches of water turned a pomegranate color. What was their small house, we turned into a temple and Zeus granted them one wish.

9

They wished to spend their lives together in harmony.

10

They took care of the temple and one day their wish came true. Philemon saw Baucis, and Baucis saw Philemon sprout. The moles on her skin became spores as her face split into bundles of leaves, her hair twisting into long shoots. The warts on his body merged into one as his body collapsed into lumps of woody material.

11

They became the lecanopteris mirabilis, the epiphyte that clings onto the large trunks of trees by its roots. Philemon became the rhizome, and Baucis became the fern leaves.

12

If you were to see one in the rainforest, you might notice that there are ants crawling all over this plant. That is because the lecanopteris mirabilis and the ants share a mutual relationship. Inside the rhizome of the lecanopteris mirabilis are tunnels, cool coiling tunnels for the ants to thrive. The tunnels keep evolving because the ants continue to crawl all over the intricate body of the lecanopteris mirabilis making it unattractive to herbivores. The lecanopteris mirabilis trusts the ants but if the ants cheat the relationship by not showing their fleshy bodies to hungry butterflies and parrots, it can stop growing the nutritious tunnels.

13

Foolish leaves.

14

As if a temple has any authority.

15

I am the ants. And the ants choose where to live. When it floods, the ants merge together to become a raft and they can go anywhere.

16

The lecanopteris mirabilis can only hang high, because the floods do not discriminate. Nothing blooms in a flood.

17

Philemon and Baucis can only hang high, because the floods do not discriminate. Nothing blooms in a flood.

18

If an epiphyte thrives in an environment, there is no need for sexual reproduction—the production of an individual. Vegetative reproduction—the production of a clone, is preferable as it maintains the harmony with the habitat. The population stays strong; it becomes a biomass of genetically identical organisms physically separate in every way.

19

Beneath the leaves of the lecanopteris mirabilis are many moles. They are spores that are seeds. When they are taken by the wind and land somewhere else, there is potential for them to sprout and become a genetically unique individual.

20

But, many of these moles will never become new heroes.

21

Instead, when lightning strikes in a thunderstorm, the rhizome of the lecanopteris mirabilis breaks and the leaves fall like limbs tumbling out of a wreck.

22

After the storm, after the flood, and after the separate chunks of plant land on nearby host trees, they will sprout.

23

They will sprout Philemon and Baucis again, and again.

24

Lecanopteris Mirabilis This unique artist book was written and created by the artist, Tammy Nguyen. The italicized texts were taken from the following: Homer. The Iliad of Homer. Trans. Richmond Lattimore. Illus. Leonard Baskin. Chicago: The University of Chicago Press, 1962. Print. Ovid. Metamorphoses. Trans. Stanley Lombardo. Indianapolis/Cambridge: Hackett Publishing Company, Inc., 2010. Print. The papers used in this book include 120g Magnani Arturo Celadon, a variety of Japanese rice papers, 90lb Stonehenge Fawn, and Yupo paper. Images are drawn with ink pen and colored pencil. The printing methods used include intaglio and silkscreen. The book is wrapped in silk and the boards are made from 1/4” MDF and 1/8” hardboard. The adhesives used include Jade glue and Gudy-O. Aluminum posts are used where parts pivot. The fonts used include Quadrata Roma Medium Oblique 25pt and Calisto MT Regular and Italic, 30pt. This book is one of three in the series: Hermes, the Epiphytes. Copyright © 2014 [signed] Tammy Nguyen

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Bromelia Neoregelia

2014
Hand-bound artist book: cut paper, ink, colored pencil, monoprint, and screen print on paper
21” x 31” closed; 44.5” x 47.5” open

SPRINGTIME ALWAYS WELCOMES THE HEROES.

1

BROMELIA NEOREGELIA

2

Why ask my generation? As is the generation of leaves, so is that of humanity. The wind scatters the leaves on the ground, but the live timber burgeons with leaves again in the season of spring returning. So one generation of men will grow while another dies.

3

There is an ecosystem inside of the bromelia neoregelia, the epiphyte that clings onto the large trunks of trees by its roots.

4

The center of the plant is a cup that holds rainfall. It is a pond where all of the flowers grow. Many emerald green buds stick their tops through the surface of the water. The buds are wet and glimmering; seductive as you try to glimpse at your reflection.

5

The green and yellow leaves of the bromelia neoregelia wrap around the center cup. They are secured to the root of the plant, dig into the base, and extend outward towards the air.

6

You always know when the flowers are coming because the leaves of the bromelia neoregelia bleed a pomegranate color. The red floods the green and yellow stripes, making the leaves monochromatic.

7

You always know when the heroes are coming because the leaves of the bromelia neoregelia bleed a pomegranate color. The red floods the green and yellow stripes, making the leaves monochromatic.

8

It is Achilles who is bleeding, and his mother is wailing. She gave birth to the perfect son, half god, half mortal. He was without fault and powerful, conspicuous among heroes as he shot up like a young tree. She nurtured him like a young tree grown in the pride of the orchard.

9

Achilles should die, because when you see him live, and he looks on the sunlight, he has sorrow, and you can do nothing to help him. He has sorrow that you can do nothing about because he does not believe that he will be immortalized by the new generations of men in poetry.

10

He has sorrow that you can do nothing about because he does not believe that he will be immortalized by the new generations of leaves that the wind scatters on the ground.

11

The flowers of the bromelia neoregelia shoot up like young trees. They appear in a startling blue color, the kind of blue you see on Pluto. The petals look like tissue paper sticking out of a box. But like tissue paper, their time is short, and they wrinkle up and fall away.

12

These flowers die upon full bloom.

13

Achilles dies upon full bloom.

14

But soon, the roots sprout a genetically identical bromelia neoregelia and the life cycle of the epiphyte continues, still clinging onto the large trunks of trees by its roots.

15

If an epiphyte thrives in an environment, there is no need for sexual reproduction—the production of an individual. Vegetative reproduction—the production of a clone, is preferable as it maintains the harmony with the habitat. The population stays strong; it becomes a biomass of genetically identical organisms physically separate in every way.

16

The epiphytes always come back the same, and the bromelia neoregelia always dies in full bloom.

17

The heroes always come back in the spring, and Achilles always dies in full bloom.

18

Bromelia Neoregelia This unique artist book was written and created by the artist, Tammy Nguyen. The italicized texts were taken from the following: Homer. The Iliad of Homer. Trans. Richmond Lattimore. Illus. Leonard Baskin. Chicago: The University of Chicago Press, 1962. Print. Homer. The Homeric Hymns. Trans. Apostolos N. Athanassakis. London: The Johns Hopkins University Press, 1976. Print. The papers used in this book include 120g Magnani Arturo Buttercream, a variety of Japanese rice papers, 90lb Stonehenge Fawn, and Yupo paper. Images are drawn with ink pen and colored pencil. The printing methods used include monoprinting and silkscreen. The book is wrapped in silk and the boards are made from 1/4” MDF and 1/8” hardboard. The adhesives used include Jade glue and Gudy-O. Aluminum posts are used where parts pivot. The fonts used include Quadrata Roma Medium Oblique 25pt and Calisto MT Regular and Italic, 30pt. This book is one of three in the series: Hermes, the Epiphytes. Copyright © 2014 [signed] Tammy Nguyen

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Rhipsalis Ramulosa

2014
Hand-bound artist book: cut paper, ink, colored pencil, woodblock, and screen print on paper
26” x 24” closed; 33” x 52” open

The Greek word for spring is hŌra, which shares the same root as hero.

1

RHIPSALIS RAMULOSA

2

Why ask my generation? As is the generation of leaves, so is that of humanity. The wind scatters the leaves on the ground, but the live timber burgeons with leaves again in the season of spring returning. So one generation of men will grow while another dies.

3

If you are in Central America, you might see a rhipsalis ramulosa, but it shouldn’t be there, it shouldn’t exist. You see, the genus Rhipsalis are cacti and cacti are originally from North America.

4

A long time ago, a bird traveled from present day Tuscan to Managua, and carried a cactus fruit seed inside of its stomach.

5

The bird found rest on the bed of a tropical forest, where it released the seed into the soil. The likelihood of this seed sprouting, never mind surviving, was slim to none. However, on this rare occasion, a mutant cactus emerged, and it found the dense air ideal for a new life.

6

This cactus is the rhipsalis ramulosa, the epiphyte that clings onto the large trunks of trees by its roots. Each leaf is long and ovular, they have the thickness of an ear lobe, and the redness of blushed cheeks. Each leaf has a long flexible stem, which connects it to the next leaf. Each leaf is healthy and heavy, making the plant droop as it climbs around the forest. Many people call this plant the devil’s tongue.

7

But these are hanging tongues of Persephone who was taken from her mother and raped by Hades.

8

Demeter, the goddess of harvest and Persephone’s mother, remembers that day when a sharp pain gripped her heart, and her seedling was taken away from her. None of the birds flying between Tuscan and Managua came to her as a truthful messenger.

9

Demeter had lost her immortal daughter, and as Persephone bled in the underworld, her mother wailed.

10

To make up for the loss of Persephone, Demeter thought that she could raise a boy into a hero, immortal and ageless forever. But men are too foolish to know ahead of time the measure of good and evil which is yet to come and it is not possible for him to escape the fate of death.

11

Her failure turned into rage, the goddess of harvest left the earth barren, and she contemplated a great scheme to destroy the feeble races of earth-born men. Zeus needed to prevent this and commanded Hades to return his beloved Persephone to her mother. However, Hades offered Persephone to eat a honey-sweet pomegranate seed.

12

The seeds of the rhipsalis ramulosa grow on the edges of the tongue-shaped leaf. They are kept inside white iridescent round pearls that look like pomegranate seeds that have lost their blood.

13

Demeter suspected trickery when she embraced the return of her Persephone. Sure enough, by Persephone eating the pomegranate seeds, she was not fully returned to her mother. Instead, she shall fly and go to the depths of the earth to dwell there a third of seasons in the year, spending two seasons with her mother and the other with immortals.

14

Near present day Tuscan where many of the cacti live, the fruits bloom with every kind of sweet-smell in the season of spring. Then when it is winter in Tuscan, the white pomegranate seeds of the rhipsalis ramulosa bloom with every kind of sweet-smell in Managua.

15

The bird found rest on the bed of a tropical forest, where it released Persephone into the soil. The likelihood of Persephone sprouting, nevermind surviving, was slim to none. However, on this rare occasion, a mutant Persephone emerged, and she found the dense air ideal for a new life.

16

Persephone is always the mistress of the underworld and she always goes back to her mother in the spring.

17

The rhipsalis ramulosa is the mistress of Managua, and the same flowers bloom in the Tuscan every spring.

18

The rhipsalis ramulosa only needed to be a mutant once, the one time Persephone was raped. As an epiphyte, Persephone does not want to relive Hades’ ravage, so she does not spread her seeds.

19

If an epiphyte thrives in an environment, there is no need for sexual reproduction—the production of an individual. Vegetative reproduction—the production of a clone, is preferable as it maintains the harmony with the habitat. The population stays strong; it becomes a biomass of genetically identical organisms physically separate in every way.

20

Persephone is one seed that clones.

21

The rhipsalis ramulosa clones.

22

Persephone’s tongues fall off and become new sprouts.

23

Persephone is one seed that clones.

24

Rhipsalis Ramulosa This unique artist book was written and created by the artist, Tammy Nguyen. The italicized texts were taken from the following: Homer. The Iliad of Homer. Trans. Richmond Lattimore. Illus. Leonard Baskin. Chicago: The University of Chicago Press, 1962. Print. Homer. The Homeric Hymns. Trans. Apostolos N. Athanassakis. London: The Johns Hopkins University Press, 1976. Print. The papers used in this book include 120g Magnani Arturo Pink, a variety of Japanese rice papers, 90lb Stonehenge Fawn, and Yupo paper. Images are drawn with ink pen and colored pencil. The printing methods used include water based woodblock and silkscreen. The book is wrapped in silk and the boards are made from 1/4” MDF and 1/8” hardboard. The adhesives used include Jade glue and Gudy-O. Aluminum posts are used where parts pivot. The fonts used include Quadrata Roma Medium Oblique 25pt and Calisto MT Regular and Italic, 30pt. This book is one of three in the series: Hermes, the Epiphytes. Copyright © 2014 [signed] Tammy Nguyen

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Avian Flu

2013
Spandex sleeve, collage, ink, and colored pencil on various papers, hand bound book
16.5" x 4.5" closed, 28" x 26" opened











1

Avian flu is often spread among migratory birds as they share the same ecosystems and breed across disparate places.

2

Birds outnumber humans by the millions, so it is no surprise that avian flu has been transmitted to human populations—

3

mostly by proximity to their feces.

4

Sometimes avian flu can be deadly, but most of the time it’s just a common flu virus—

5

a cold that is annoying at first,

6

but you become immune to it in the end.

]]> Wed, 31 Dec 1969 19:00:00 -0500
Salmonella

2013
Paper, watercolor, crayon, and acrylic on various papers, hand-bound book
10" x 12" closed, 26" x 23" opened



















1

Don't use the knife that touched the raw chicken.

2

You could catch Salmonella

3

a type of food poisoning commonly linked to poultry.

4

It is a rod-shaped bacteria that thrives in

5

the intestinal lining of chickens.

6

Humans can become infected with Salmonella

7

through ingesting undercooked chicken.

8

Usually our gastric acids will kill bacteria.

9

But if it gets caught within the mucus of the oesophagus,

10

bacteria can travel to the digestive system,

11

where it will cause illness.

12

Symptoms develop between 12 to 72 hours.

13

NAUSEA

14

STOMACH CRAMPS

15

VOMITTING

16

CHILLS

17

FEVER

18

DIARRHEA

19

MUSCLE ACHES

20

AND LOSS OF APPETITE

21

You could die,

22

but this is rare.

23

Most likely illness will last from 5 to 7 days.

Tips on how to not overcook your chicken.

Pound the meat before you cook it.

Soak it in olive oil.

Bake it in sauce.

Poach it in salty water.

Deglaze it with butter and wine.

]]> Wed, 31 Dec 1969 19:00:00 -0500
Pellet

2013
cut paper, watercolor and gouache on paper, hand bound book
26" x 50" opened
















]]> Wed, 31 Dec 1969 19:00:00 -0500
The Scream

2013
Japanese woodblock with chine collé, marbling, and hand coloring on various papers, hand bound book
28” x 28” closed

















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Water Feather and Golden Hands

2013
color lithograph on paper with various media, hand bound book
24" x 22" closed, 24" x 50" opened

Water Feathers and Golden Hands by Tammy Nguyen

1

This is a human child, Who was bore from two ancient birds.

2


3

Her father was a tiny owl, Unique from his flock. And with song that was more like a howl, Her mother was an enormous hawk.

4

Mother hawk had the most beautiful feathers in the world. Made of waves of water, she graced the sky as they swirled. You could make out shimmering minerals, As she flapped her wings in steady intervals.

5

Father owl was famous for his golden hands, Skilled in picking and clawing, he was a crafty hunter, He could target a prey, snatch it on command, No need to worry, he’ll feed you whatever he musters.

6


7

When they saw that their egg hatched into a human, Mother hawk and father owl were quite surprised, Loving their daughter, but not knowing how to care, They thought of ways, they sat, they agonized.

8

This child has a breathtaking gaze, And a mouth outlined with full lips, It was clear that if the bird couple didn’t give her tips, She could be lost in the rain for days.

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10


11

Mother hawk thought, That if she could give her daughter her feathers, Then her daughter could pursue whatever she sought, By having mother’s water, she’d seize her endeavors.

12


13

Father owl thought, That if he could give his daughter his hands, Then his daughter could pursue whatever she sought, She would be the one making all the demands.

14


15

Mother hawk made her daughter a jacket out of banana leaves, And she wove the water from her feathers into every stem, She told her daughter, “Just put your mouth to your sleeve And you will have the strength. Don’t be afraid of them.”

16

Father owl made his daughter a pair of glasses, Molded from his hands, he used the best bark from a tree. He told his daughter, “There are things I do not want you to see, But when that happens, challenge them fiercely.”

17

What the bird couple did not realize, Is despite the tools that they gave their child, What they gave her internally was worse than the wild, Her genetics would be the cause of her demise.

18


19

Her mother gave her a bad case of cholesterol, And a temper that makes her spit boil, shooting fireballs. Her mother gave her high blood pressure, And a cold case of selfish, an endless hunt for treasure.

20

Her father gave her bad eyesight, And some anxiety that keeps her from sleep at night. Her father gave her bad digestion, And a tendency for paranoia, she tends to feel threatened. You are holding this child; organs you’re viewing, In fact, she is aging, page turn to page turn. But she only wants to be where the few sing, Making discoveries impossible to churn.

21

She’s wide-eyed and unafraid of the universe, Protected by her parents’ love and armor, How guilty they might feel to see their efforts reverse, We all know that one day she can’t go on for longer. She doesn’t know any better, eating berries and rocks, She runs outside in the cold, forgetting her socks, She doesn’t know that the stuff inside will take over, Look at her now; tell her something before she gets older.

22

So what would you tell this child, Now that you’ve seen her intestines, Try and save her? Don’t let her go where she is destined.

]]> Wed, 31 Dec 1969 19:00:00 -0500
My Twin Aunts

2013
Color lithograph and silkscreen on paper, hand bound book
9.25’’ x 15.75’’

1

My Twin Aunts by Tammy Nguyen

2

I have identical twin aunts and they are extremely mean.

3

I lived with them once, in Vietnam. One time, I saw one of my aunts fling a knife at the maid. Another time, I saw the other one shoo a salesman out of the house with a broom. They made me come home by ten, and I had to be on my best behavior, or they’d tell my mother.

4

Vietnamese people are born censored by their elders. You can’t argue; you can’t disagree; you can’t say anything. In the case of my aunts, the one who was two minutes older was the boss. I was obviously never the boss, but I had my imagination.

5

My aunts were America-worshipers. They loved American things, from their cars to their lipstick. When they upset me, I would imagine them as conjoined hawks.

6

If they loved America so much, then being conjoined twins would be a perfect democracy. They would have to negotiate everything, otherwise they would have heart failure, bone failure, liver failure, brain failure, whatever failure, as they would have to share an organ to survive.

7

However, if they wanted to really get the American thing, they would have to adopt some form of individual pursuit, causing them to fly in different directions and breaking their physical bond.

8

Funny thing is that soon after the Americans went to Vietnam and released Agent Orange there was a surge in conjoined twins— siblings with a biological democracy.

9

Children are sometimes worshipped in Vietnam because of their innocence. Some Vietnamese people regard conjoined twins as extra holy. They don’t live long and often remain children.

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The Light to the Left

2012
Intaglio and ukioye woodblock printed hand bound book
21.5" x 27.5" closed, approximately 21.25" x 52.5" opened



1


2

money, a commodity accepted by general consent as a medium of economic exchange. It is the medium in which prices and values are expressed; as currency, it circulates anonymously from person to person and country to country, thus facilitating trade, and it is the principal measure of wealth.

3


4


5


6


7


8


9


10


11


12


13


14


15


16


17


18

dementia, chronic, usually progressive deterioration of intellectual capacity associated with the widespread loss of nerve cells and the shrinkage of brain tissue. Dementia is most commonly seen in the elderly (senile dementia), though it is not part of the normal aging process and can affect persons of any age. The most common irreversible dementia is Alzheimer disease. This condition often begins with memory loss or with subtle impairments in other cognitive functions. These changes may manifest initially as simple absentmindedness or forgetfulness or as minor problems with judgment, language, or perception. As dementia progresses, memory loss and cognitive impair- ment broaden in scope until the individual can no longer remember basic social and survival skills or function independently. Language, spatial or temporal orientation, judgment, perception, and other cognitive capacities decline, and personality changes may occur.

19


20


21


22


23


24

During the Vietnam War, parents often told their children concise survival lessons in case they would be displaced or separated. My maternal grandmother told her eleven children: “It doesn’t matter where you end up, as long as you have money.” When I was born, my grandmother immigrated to America to help my mother take care of me. A strict French teacher, my grandmother would nurture me through firm instructions for manner, language, and even craft—making sure I would doubly crease paper as I folded paper toys. One kindergarten afternoon, my father picked me up from school and we rushed to the hospital. She had suffered a severe stroke and half of her lights went off. Unable to walk, lift, or go to the bathroom, my family had to hire permanent care for my grandmother. Half of her mind however, was still sharp, and you could tell because her left eye would just glare at you if you ever wanted to interact with her in any way. Shaking her bed and throwing pieces of tissue paper in the air, that left side of her made sure dinner was promptly at six everyday. As the years went by, care for her became expensive, so my family sent my grandmother back to Vietnam. Twelve years later, I moved to Vietnam and lived with my grandmother. She no longer had any memory of who I was. In fact, the only person she could recognize was her caretaker. Every morning, I would come down the stairs and that left eye would shoot me a stare. Dropping her croissant in her latte, she would shout, “Bitch! Where is my money!?” Sometimes, my uncle would come by. He was a fat bald man and she would be so thrilled to see him. “Budai! Budai!” she would laugh as she rubbed his belly. To my grandmother, my uncle was no longer her son, but the incarnation of “Laughing Buddha” who brings wealth and prosperity. Then, one random day, my grandmother was eating breakfast with her caretaker. After she was done she said, “Okay, that’s enough.” The caretaker tucked my grandmother into bed and then all of her lights went off.

25


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]]> Thu, 02 Jul 2015 13:54:48 -0400
The Problems with Primate City

2015
hand-set type, polymer print, water-based printed woodblock, and collage, colored on paper
88” x 79”

Welcome Sign

2014
pastel and collage on paper
44” x 40”

Dana Ng, Eyeball Sucker

2014
pastel, paint, and collage on paper
50” x 35”

Douc Langur Eats

2014
colored pencil, pastel, ink, and collage on paper
25” x 19”

Douc Langur Looks Up

2014
colored pencil, pastel, ink, and collage on paper
25” x 19”

The Double Yolked Egg, Part 1

2014
Water-based printed woodblock with collage and colored pencil
16 5/8” x 10 1/8”

Something’s wrong with the mother when you find a double-yolked egg. You thought you’ve found twins, but no, there probably wasn’t a father. Even without the roosters, hens just keep laying eggs. One egg a day, following the sun cycle over 24 hours.

The Double Yolked Egg, Part 2

2014
Water-based printed woodblock with collage and colored pencil
16 5/8” x 10 1/8”

Something’s wrong with the mother when you find a double-yolked egg. These eggs are usually produced by a hen who is too young, or too old. The egg-forming organs are not fully synchronized causing two yolks to drop before the shell formation.

The Double Yolked Egg, Intermission 1

2014
Water-based printed woodblock with collage and colored pencil
21” x 16”

The Double Yolked Egg, Intermission 2

2014
Water-based printed woodblock with collage and colored pencil
21” x 16”

The Double Yolked Egg, Part 3

2014
Water-based printed woodblock with collage and colored pencil
16 5/8” x 10 1/8”

Something’s wrong with the mother when you find a double-yolked egg. If there was a father, the two embryos fight each other, each hoping that it will be the one that hatches. Usually, both of them die.

The Double Yolked Egg, Part 4

2014
Water-based printed woodblock with collage and colored pencil
16 5/8” x 10 1/8”

Something’s wrong with the mother when you find a double-yolked egg. But they are perfectly fine to eat. In some cultures, finding a double-yolked egg means that there is a good fortune coming.

Chicken Exotica No. 1 !

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Chicken Exotica No. 2

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Chicken Exotica No. 3

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Chicken Exotica No. 4

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Chicken Exotica No. 5

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Chicken Exotica No. 6

2014
Pastel, charcoal, pencil, and gouache on paper
30" x 22"

Untitled

2014
charcoal on paper
30" x 22"

Untitled

2014
charcoal on paper
30" x 22"

Untitled

2014
charcoal on paper
30" x 22"

Diagram for Construction of Bromelia Neoregelia

2014
Pastel, pencil, ink, and collage on paper
50” x 38”



Diagram for Construction of Rhipsalis Ramulosa

2014
Pastel, pencil, ink, and collage on paper
50” x 38”

‘Nam Chickens No. 1

2014
Japanese woodblock with chine colle on paper with comic book scraps
14” X 10”

Blue Chicken 02

2014
Japanese woodblock with chine colle on paper with comic book scraps
14” X 10”

Untitled

2013
colored pencil and ink on paper
12" x 10"

Untitled

2013
colored pencil and ink on paper
12" x 10"

Untitled

2013
colored pencil and ink on paper
12" x 10"

Untitled

2013
colored pencil and ink on paper
12" x 10"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
colored pencil and ink on paper
12" x 9"

Skin Me Study 01

2013
watercolor, colored pencil and collage on paper

Skin Me Study 02

2013
watercolor, colored pencil and collage on paper

Untitled

2013
colored pencil and ink on paper
12" x 9"

Untitled

2013
ink on paper
15.5" 20.5

Untitled

2013
ink on paper
15.5" 20.5

Rainforest 01

2013
intaglio with colored pencil and chine-collé on paper
23" x 16"

Rainforest 02

2013
intaglio with colored pencil and chine-collé on paper
23" x 16"

Rainforest 03

2013
intaglio with colored pencil and chine-collé on paper
23" x 16"

Rainforest 04

2013
intaglio with chine-collé and colored pencil on paper
23" x 16"

Conjoined Hawks 01

2013
Japanese woodblock with chine-collé and photocopy transfer on paper
19.75" x 13.75"

Conjoined Hawks 02

2013
Japanese woodblock with chine-collé and photocopy transfer on paper
19.75" x 13.75"

Conjoined Hawks 03

2013
Japanese woodblock with chine-collé and photocopy transfer on paper
19.75" x 13.75"

Conjoined Hawks 04

2013
Japanese woodblock with chine-collé and photocopy transfer on paper
19.75" x 13.75"

Portrait of a Hero

2012
watercolor and gouache on paper
20" x 14.25"

Grandma as King Series

2012
photo intaglio and gouache on paper
11" x 8.25"

The Mouse and the Elephant Part 1

2012
intaglio on paper
32" x 22"

Printed from one copper plate through multiple etches.

The Mouse and the Elephant Series Part 2

2012
intaglio on paper
32" x 22"

Printed from one copper plate through multiple etches.

]]> Mon, 09 Apr 2018 10:01:22 -0400




All Eyeballs Go to Heaven #2

2015
watercolor, acrylic, and oil on canvas
30” x 24”

Dana Ng Shoots

2015
watercolor, acrylic, and oil on canvas
30” x 24”

Touching Canopies

2015
watercolor, acrylic, and oil on canvas
30” x 24”

Mother and Child

2015
watercolor, acrylic, and oil on canvas
30” x 24”

Stacked Landscape

2015
watercolor, acrylic, and oil on canvas
30” x 24”

Eyeball Suck

2015
watercolor, acrylic, and oil on canvas
48" x 36”

Shoot

2015
watercolor, acrylic, and oil on canvas
48" x 36”

Stir

2015
watercolor, acrylic, and oil on canvas
72" x 60"

Slurp

2015
watercolor, acrylic, and oil on canvas
72" x 60"

The Last Champion

2014
Watercolor, acrylic, and oil paint on canvas
72” x 60”

New Champions

New Champions Watercolor, acrylic, and oil paint on canvas 72” x 84” 2014

One After the Other, Act 1 Scene 2

2014
Watercolor, acrylic, and oil paint on canvas
48” x 36”

One After the Other, Act 2 Scene 1

2014
Watercolor, acrylic, and oil paint on canvas
48” x 36”

One After the Other, Act 2 Scene 2

2014
Watercolor, acrylic, and oil paint on canvas
48” x 36”

Swallow

2014
Watercolor, acrylic, and oil paint on canvas
48” x 36”

Untitled


Untitled


The Swan

2014
watercolor, acrylic, and oil on canvas
36" x 24"

Skin Me

2013
watercolor, acrylic, and oil on canvas
48" x 36"

Almost Chet

2013
watercolor, acrylic, and oil on canvas
60" x 90"

*Ore!

2013
watercolor, acrylic, and oil on canvas
44" x 72"

Avian Flu 01

2013
watercolor, acrylic, and oil on canvas
40" x 56"

Blind Eyes Study

2013
watercolor, acrylic, and oil on canvas
11" x 11"

Flutter

2013
watercolor, acrylic, and oil on canvas
60" x 72"

Untitled

2013
watercolor, acrylic, and oil on canvas
9" x 12"

Split

2013
watercolor, acrylic, and oil on canvas
60" x 72"

The Snatch

2013
watercolor, acrylic, and oil on canvas
60" x 84"

The Mother Hawk

2013
watercolor, acrylic, and oil on canvas
84" x 188"

Portrait

2012
watercolor, acrylic, and oil on canvas
48" x 36"

Flight of the Siamese Hawks

2012
watercolor, acrylic, and oil on canvas
72" x 72"

Grip

2012
watercolor, acrylic, and oil on canvas
30" x 36"

Chomp!

2012
watercolor, acrylic, and oil on canvas
72" x 60"

Dad and Me 1

2012
watercolor, acrylic, and oil on canvas
48" x 36"

Water Grip

2012
watercolor, acrylic, and oil on canvas
72" x 84"
]]> Thu, 11 Feb 2016 18:10:58 -0500

















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