Q&A With Dacchi Dang - Art Collector

Courtesy of the artist and 4A Centre for Contemporary Asian Art


Art Collector speaks with Dacchi Dang about a new retrospective of his work at 4A Centre for Contemporary Asian Art. The exhibition, entitled An Omen Near and Far, continues until 30 July 2017.


Your new show, An Omen Near and Far, encompasses work you have made over a period of several years. Can you describe the process of organising and selecting this work?

This exhibition was a result of 2 years’ planning. I have worked closely with 4A curator Pedro de Almeida. Our first conversation and studio visit was to review my portfolio and lay out the basic foundation for the curatorial rationale which included discussions about the objectives and focus and strategy for the An Omen Near and Far exhibition.

This was followed up by several studio meeting with Pedro and curatorial assistant Harriet. By this stage we had very strong vision and clear images of the format as to how the exhibition was to be presented. We carefully looked through my entire body of artworks as well my personal archive materials. Having a clear vision made the process of selection artworks much easier in order to meet our objective.

Has searching through your archival material for this show inspired any new ideas for you?

Yes, as I was able to review some of my archive materials which I have not seen for some time. It was great to revisit these materials as they brought back old memories as well to enabling me to draw new inspiration for upcoming exhibitions.

As a founding artist member of 4A Centre for Contemporary Asian Art, what has your relationship with the gallery been like? How have you seen it evolve?

The 4A Centre for Contemporary Asian Art has gone through many phases and challenges in the past. I was pleased to be a part 4A from its inception. Being honoured with a survey show at 4A has brought back lots of great experiences, lots of memories and friendships.

As a founding artist member and management board committee member of 4A, I was part of an exciting period in the development of Asian art recognition in Australia. We planted our seed, nursing and providing a good foundation for the reception of Asian art by creating a platform, opening a dialogue and reaching out to broader communities nationally and internationally to promote Asian Australian contemporary arts.

I am thankful to the artists, public and private institutions who have provided their generosity of spirit and support throughout the years, and helped encourage the Australian public to join in 4A’s growth. It is exciting to see how much 4A has grown and developed. Under its new management the gallery is poised to enter into new and exciting journeys for many years to come.

How has the recent experience of working with the Australian War Memorial impacted your practice?

I feel very honoured and privileged to be invited to work on this important commission for the Australian War Memorial Gillespie Bequest. The process of working with the archivists and curatorial team at the Australian War Memorial has been very rewarding to me as I research the involvement of South Vietnamese service men and their relationship with Australian personnel during the Vietnam War. The documentation of my research and the final artworks will provide new understandings about the history of a remarkable group of people whose stories have not previously been told. It will also allow the Australian public to have a more complete understanding of Vietnam culture.

Other than the Australian War Memorial commission, do you have any plans for future exhibitions or major works?

I am in the process of developing a new series of my artworks for an upcoming major exhibition in the near future.


Emily Grant






Share this page: