TRONG G. NGUYEN

TRONG G. NGUYEN

Rush Limbaugh Is a Big Fat Idiot (last chapter, in English – approx. 1100 words), 2009 rice kernels, ink, mylar, gold paint (book title written on gold kernels) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Hugo Les Miserables (first chapter, in English – 1064 words) From the series Library, 2008 rice kernels, ink, mylar, gold paint (book title written on gold kernels) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Grimm: Cinderella (complete story, in English – approx. 2000 words) From the series Library, 2010 rice kernels, ink, mylar, gold leaf (book title written on gold kernel) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Wells: War of the Worlds (last chapter, in English – approx. 1500 words) From the series Library, 2008 rice kernels, ink, mylar, gold paint (book title written on gold kernels) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Fitzgerald: Tender Is the Night (first chapter, in English – approx. 1800 words) From the series Library, 2010 rice kernels, ink, mylar, gold paint (book title written on gold kernels) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Twain: The Prince and the Pauper (last chapter, in English – 913 words) From the series Library, 2009 rice kernels, ink, mylar, gold paint (book title written on gold kernels) 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

TRONG G. NGUYEN

Swift: A Modest Proposal (complete story, in English – approx. 2300 words) From the series Library, 2012 rice kernels, ink, mylar 5 x 3.5 x .25 in (12.7 x 8.89 x .64 cm)

TRONG G. NGUYEN

 

1971 bron in Saigon, Vietnam

 

 

Trong G. Nguyen is a modern-day “Renaissance Man”. He is an artist who received his MFA in painting but refuses to let himself be categorized according to genre. Whether he’s producing iPhone apps, custom trucker hats, archival inkjet prints, videos, sculpture cakes, infinity mirrors, applying oil to canvas, or commenting on the non-reality of reality TV (as he did on Bravo’s Work of Art), Nguyen’s left-of-center work aims to make people stop and think—about life, love, and their relationship to art itself.

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