Philosophising the search of Dao Hai Phong

It was much more difficult than we thought. Due to the limits of wall space as well as the limits of our pocketbook, we had to confine ourselves to certain parameters. But even then, even within those, it was not a cut and dry decision that was easy to make from the very outset.

For one, almost every painting I saw, I felt I would love and be proud to own. Amazingly, each and every one. It was further complicated by Phong's titles - all of which are pleasingly poetic, pleasantly provocative. "Quiet Evening" was a fishing boat, docked into a house on stilts, lit from within. "Twilight Moment" was a small village nestled behind a grove of three trees on a hill, the houses reflected in the still waters of the lake. "Countryside" was a row of houses on red. In his recent work, the artist seemed to be responding to more modern inspirations, the walls of his houses had graffiti - not a bad, there was something there.

"But what do you want most? What do you want to look at every day?" All of them, I thought greedily. I'd like to look at all of them. But T was right, I knew. We are not the kind of people to buy any number of work by one artist. You buy one. The one you like best; the one that likes you. And then you stop.

Being perhaps more existentialist than we needed to be, we asked ourselves, what makes a Dao Hai Phong truly Dao Hai Phong, without which it would not be a Dao Hai Phong? We locked upon his trees like clouds of cotton candy, we liked hills and churches. True, his fishing villages were charming - the house on stilts with the light emanating from it, bouncing of the surface of the water - a rhapsody in deep blue that is at once the sky, at once the sea. Beautiful, without a doubt, but there was just something different about those billowing trees.

"It's not like the fishing scenes are not powerful, they are. But we're not fishing people as much as we are tree people," I said, testing out my theory out loud to see if it held any water. T agreed. Fishing and the sea are great. But we are more about hills and trees and houses.

Finally there was the issue of colour. To make the choice between Phong's blueness or redness or yellowness was tough, as each had its merits. K hazarded her rather mature opinion that red was too hot, and that she preferred the serene of deep blue or the calm of the yellow. But I pointed out to her that because of the way Phong paints, even the red, as bright as it is, is calm and quiet and placid...some kind of magic that he is able to achieve, a gentle message from the eye to the brush, spelt out in the canvas.

In a red one called "New town" there is a cluster of houses on a hill and two trees. There is also the unexpected gift of falling yellow leaves, like the season of autumn.

"New town" had real hope and it grew in all of us. On our final day in Hanoi, we decided to
take it home.