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This article first appeared on Neocha.  Inside Tinsideout’s dreamscape, we meet the colorful cast of chimeras who have peopled his land of imagination. Here hybrid bodies abound, becoming fertile grounds for free association and tessellation. “My practice is to use the portrait genre as a canvas to stretch the ideas about identity,” he talks of his process. It is through the revelatory art of portraiture that Tinsideout, whose first name is Tin, found his identity as an illustrator. The name “Tinsideout” is as much about self-expression as it is about the artist’s eternal quest to illustrate the interiority of the psyche.
Tinsideout, or Tran Nguyen Trung Tin, majored in silk painting in college, where he first got “attracted to the sheer possibility of silk.” Vietnamese silk painting—which flourished under French colonialism—distinguishes itself from that of China and feudal Japan thanks to the extraordinary softness that foregrounds the immanent mystery and poetry of everyday life. Over the years, throughout his master’s degree in the UK and later as an international illustrator, Tin developed his style by singling out the ethereal quality of organza and letting it blossom. Unlike Batik, the Indonesian technique of wax-resist painting, modern silk painting in Vietnam is “not as much about painting as it is about dying,” Tin explains. The efforts culminate in his signature triple-layer silk paintings, first of their kind in terms of construction: without backing paper, the layers of silk take on a luminous sfumato quality, seemingly suspended in our field of vision.
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