Silkscreen, acrylic, inkjet, pencil, and Plexiglass mounted on wood
Dark Side of the Moon (2013-2016), three ongoing series of works named after the Pink Floyd album released in the 1973, pulls the viewer in with its encyclopedic inventory of imagery and intricate details demanding closer inspection. At the same time, this complex body of work pushes the viewer out with each square inch of its compositions transmitting unique visual information yet denying categorization and blurring boundaries between the so-called real and the imagined. As the first soundtrack Vu experienced upon immigrating to the United States during his childhood, The Dark Side of the Moon album signifies both an experimental approach to music making and the sense of foreignness and exoticism of American culture that the artist experienced for the first time.
Dark Side of the Moon West (2015-2016) presents another iteration of the series containing eighteen works that each corresponds to another work in the East series. The West artworks incorporate laser-cut wood and highly detailed white silkscreen depictions of industrial factories, scaffolding, atomic diagrams and other geometric man-made constructions. The juxtaposition of light and dark, organisms and machinery, loosely painted forms and mathematically precise silkscreen underline the complex often-contradictory roles of technology.
The West body of works presents an iteration of the series consisting of eighteen works that each corresponds to another work in the East series. The pieces are twelve hours apart—literally, half a world away—and titled in pairs. When coupled together, the works become magnetic poles and the physical space between them becomes part of the work. They shall never meet—each becomes the other’s dark side, without hierarchy.