dialogue
KV Duong | Artist
May 2025
7 min read
KV Duong is an artist whose work emerges from the layered complexities of cultural heritage, queer identity, and personal memory. Born in Vietnam, raised in Canada, and now based in London, his practice reflects a life shaped by shifting geographies and the constant negotiation of belonging. At its heart is an exploration of what it means to inhabit multiple identities at once, not only as a diasporic subject, but as a gay Asian man navigating visibility, desire, and vulnerability in both public and private space.
With a foundation in structural engineering, KV approaches material with clarity and intent, constructing sculptural and installation works that are formally precise and emotionally resonant. His chosen medium of latex carries deep autobiographical weight: evoking histories of colonial exploitation while also drawing from queer subcultures, sensuality, and skin itself. In his live body painting performances, the tension between exposure and protection becomes a gesture of intimacy, raw, public, and profoundly human.
Rather than trying to contain the entirety of his experience in any single work, KV’s practice is cumulative, each piece a fragment of a wider story. He moves between the personal and the collective, offering glimpses into moments of fear, resilience, longing, and joy. His work doesn’t seek to resolve complexity, but to sit with it, to make space for the in-between, and to invite viewers into a quiet but radical act of empathy.
Image of KV Duong. Photography by James Champion.
How have your experiences of being born in Vietnam, raised in Canada, and now living in Britain shaped your artistic perspective and themes?
“Having lived on three distinct continents, migrating from Vietnam, a former developing country, adjusting as a young person in Canada, being educated there and assimilating into Western culture, and later developing my artistic and independent voice in Europe, has given me a unique, worldly perspective on different cultures, customs, climates, and human behaviors.
Themes of assimilation and the experience of living with a diaspora background are central to my work, but more broadly, I explore the human condition and what unites us as a global community.”
Artworks by KV Duong in his studio. Photography by James Champion.
How has your education in structural engineering influenced your approach to art-making, particularly in sculpture and installation?
“Working in the corporate world for two decades, particularly in engineering consultancy, has taught me the value of professionalism, clear communication, and efficiency. As artists, we are essentially business owners, and bringing this mindset into my creative practice allows me to approach my work with structure and professionalism.
As a structural engineer, I was trained to understand the properties of construction materials and how to use them effectively in design. This iterative, problem-solving mindset has translated into my art practice, particularly when working with materials like latex. It has allowed me to quickly adapt and troubleshoot throughout the creative process.
My inherent awareness of volumetric space and form also plays a key role in visualising and planning sculptures and installations. It helps me think three-dimensionally and consider how a piece may occupy and interact with its environment.”
Image of KV Duong. Photography by James Champion.
What challenges have you faced in conveying personal and collective narratives through your art, and how have you addressed them?
“There is so much history and so many stories to tell about my personal and collective experiences that at times I feel overwhelmed. Over the past few years, I have come to learn that not every work needs to capture every aspect of my life. Instead, I think of my practice as a larger body of work, with each individual piece conveying one story at a time. This approach has brought greater clarity to both my own thinking and the way the work communicates with the audience.
When conveying collective narratives and themes related to East and Southeast Asian culture within a Western context, I recognize that local audiences may not always be familiar with the heritage and politics of these regions. As a practitioner, I see it as part of my role to be patient and to help educate audiences about my history.”
KV Duong, Family Portrait (Detail), 198 x 100 cm, 2024. Photography by James Champion.
In what ways does your art reflect and navigate your journey as a queer individual within diverse cultural settings?
“Growing up, I often wished I had a gay role model, someone to help me navigate the challenges of adolescence. I wish I had known the version of myself that exists now, thirty years ago, when I felt marginalized not only as an LGBTQ+ person but also as an Asian male in a culture where we are often seen as less desirable within the gay community.
With that in mind, my work aims to make visible the image of an gay Asian male who, while still figuring things out, is comfortable enough in his own skin to show his vulnerability and openness to the world. This is especially present in my live body painting performances, where the exposure of bare skin becomes an act of vulnerability. There is a raw intimacy in the way the skin meets the latex, a physical and emotional gesture made public.”
Image of KV Duong. Photography by James Champion.
You frequently use latex in your work. What drew you to this material, and how does it contribute to conveying your intended messages?
“I create works on latex, highlighting its historical connection to French colonial rubber plantations in Vietnam, while simultaneously embracing its sensuality and symbolic association with the queer experience. Working with a material so rich in autobiographical meaning, one that carries much of the narrative weight, has given me the freedom to explore more openly in the making process. It allows me to focus on the materiality of latex and to follow my intuition through formal abstraction.”
KV Duong, Soulmate No 4 (Detail), Ink on Latex (resin-fibreglass backing), Painted Wooden Stretcher, 198 x 100 cm, 2024. Photography by James Champion.
What does vulnerability mean to you as an artist, especially when working with autobiographical material?
“To live and create authentically is to embrace vulnerability, to be honest with the world, whether in conversation or through art. Sharing autobiographical material in my work and stories, including both the highs and the lows, has required deep self-acceptance and trust in my own voice.
I came out to myself at 24, to my close friends at 28, and to my parents at 32. Along the way, there were moments when I feared the worst. I worried about rejection, that I would be left to navigate life alone. Fortunately, that fear did not become reality. But laying it all on the line allowed me to shed my insecurities. That process of release transformed the way I approach my art. I create from a place of truth, with clarity and openness. My work reflects that journey and invites others to connect with their own.”
Photography by James Champion.
What reactions do you hope to evoke from viewers, especially concerning complex themes like identity and belonging?
“What I long for in creating and sharing my work is a deep connection, one that resonates emotionally and intellectually with others. Through my personal narrative, I hope the viewer sees aspects of their own life reflected in my work.”
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