2025.10 EXHIBIZONE
If someone had told me, in the 1960’s or 70’s I’d one day be traveling “for pleasure” is Vietnam,
and I would stand praying in Hanoi…
TITLE: SELF REFLECTION IN THE HANOI OF TODAY AND OF”OUR” WAR
THEME: VACATIONS
EXHIBITION LOCATION: ONTARIO/CANADA - online
LOCATION IN HANOI: HoKoan Kiem Lake - Ngoc Son Temple
This painting traces its beginnings to the late 1960s, a period marked by the deployment of young American men, many of whom were my age, to South Vietnam. They were sent to fight against the Vietnamese people, who were striving to establish there desired form of government, different than Western Rule.
Decades later, in the 21st century, a friend planned a trip to Vietnam and Cambodia with TravelYogi. The idea of traveling through both North and South Vietnam fascinated and frightened me, yet it also stirred feelings of interest. Before committing to the two-week trip, I sought advice from my friends who were Vietnam veterans. Each encouraged me to go, offering different perspectives and reasons for their support.
Ultimately, I decided to go—and I loved the experience especially speaking with hotel staff, who spoke English, and were young enough to be my grandchildren. Visiting both countries was deeply rewarding, but Hanoi left the most profound impression on me due to the historical significance of the United States’ involvement with both North and South Vietnam.
In Hanoi, I encountered two sites that were particularly sobering. The first was a pond nestled in the heart of a residential area, where a US plane had crashed into the water. Residents kept the wreckage as a memorial to the pilot, who deliberately aimed for the pond to spare their homes. I’ve tried for years to paint the memory of the aircraft in the pond surrounded by 2 story structures but each version falls short of my experience. The image on the right shows the painting, which remains incomplete at this point.
The second location was the notorious HANOI HILTON. Here, American personnel—both men and, remarkably, women—endured unspeakable torture. Walking through the men’s section felt akin to passing through a sanitized German concentration camp, filled with the ghosts and silent screams of young Americans. The experience was so powerful that, when faced with the option of visiting the female enclosures, I found myself unable to step inside.
Our journey eventually took us to the location depicted in the painting, where I chose to perform my prayer dance. This act was a deeply personal way to honor the memories and experiences tied to this chapter of history.
MEDIUM: Acrylic on Archival Canvas Panel
SIZE: 11”x 14” - 27.9cm - 35.6cm YEAR: 2023