{"id":8529,"date":"2026-05-22T21:16:39","date_gmt":"2026-05-22T14:16:39","guid":{"rendered":"https:\/\/battrang.museum\/?post_type=journal&p=8529"},"modified":"2026-05-23T13:31:55","modified_gmt":"2026-05-23T06:31:55","slug":"flowers-from-the-memory-garden","status":"publish","type":"journal","link":"https:\/\/battrang.museum\/en\/journal\/flowers-from-the-memory-garden\/","title":{"rendered":"Flowers from the Memory Garden"},"content":{"rendered":"
[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1779435002300{background-image: url(http:\/\/battrang.museum\/wp-content\/uploads\/2026\/05\/DSCF7929-copy.jpg?id=8530) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”20rem” el_class=”hide-mobile”][vc_empty_space height=”48rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”3rem”][vc_empty_space height=”3rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

Flowers from the Memory Garden<\/h1>\r\n[\/vc_column_text][vc_empty_space height=”1rem” el_class=”hide-mobile”][vc_empty_space height=”3rem”][\/vc_column][vc_column width=”1\/2″ offset=”vc_col-md-5 vc_col-sm-offset-2″][vc_column_text]

Behind the floral installations seen at exhibitions and events, florist V\u1ef9 Nguy\u1ec5n still keeps a quiet connection to the flowers and greenery growing inside the Memory Garden at B\u00e1t Tr\u00e0ng Museum \u2014 a place where he finds joy in life\u2019s simplest gestures.<\/strong><\/p>\r\n

Our conversation with V\u1ef9 began from this very contrast. Within the contemplative setting of the museum, he sets aside complexity to engage in a dialogue with handcrafted ceramics and the greenery of the garden.<\/p>[\/vc_column_text][vc_empty_space height=”4rem”][vc_column_text]\r\n

Words: H\u00e0 Tu\u1ea5n Minh<\/strong>\r\nEditor: V\u0169 Chi Lam<\/strong>\r\nPhotograph: KEVSSI<\/strong><\/h5>\r\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_col-md-offset-1 vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-4 vc_col-xs-4″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”2rem”][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”8541″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][vc_empty_space height=”6rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text el_class=”no-indent”]

Through his reflections, one begins to understand how a professional florist continues to nurture inspiration from familiar materials, and how ordinary flowers gathered from the museum garden can still create a subtle visual language filled with depth and sensitivity.<\/p>[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”8545″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

Florist V\u1ef9 Nguy\u1ec5n<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”6478″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

\u201cNature already gives plants their grace\u201d<\/strong><\/span><\/h4>\r\n \r\n

In art, many people pursue a personal philosophy to define their practice. As a florist who often works in highly demanding environments, where does your philosophy of floral arrangement come from?<\/strong><\/p>\r\n

I simply want to embrace what already exists in nature. I observe the way plants grow, then bring that feeling into my floral work, because nature already allows trees and flowers to grow with such grace. Old branches carry their own beauty naturally. Their shapes are beautiful in ways we could never deliberately arrange ourselves. When I work with flowers, I focus entirely on placing those natural forms into harmony with the vase and the surrounding space. In that process, my mind also becomes calmer and quieter.<\/p>\r\n

If you could create a garden entirely of your own, which flowers would you choose?<\/strong><\/p>\r\n

I\u2019m often drawn to simple white flowers such as white ginger lilies and water lilies. Wherever they are placed, there is always a sense of purity that settles quietly into the living space.<\/p>\r\n

Working with beauty every day can sometimes lead to losing inspiration. Have you ever felt tired of flowers, and how do you restore yourself creatively?<\/strong><\/p>\r\n

For me, arranging flowers is a way of expressing emotions, finding stillness, and healing. So I don\u2019t think I could ever grow tired of flowers. If anything, I feel more tenderness toward them as time passes. People often say, \u201cFlowers are made to be picked,\u201d but I simply hope every flower can be cherished throughout its short yet meaningful life. Whether in moments of joy or sadness, artists always find different feelings to place into their work.<\/p>\r\n

Beyond flowers, you also work with photography, spatial styling, and art collecting. How do these interests shape your perspective as a florist?<\/strong><\/p>\r\n

Observing spaces teaches me how to control rhythm \u2014 where flowers should be placed and how they can best relate to the vase and the surrounding environment. Photography helps me recognize the most beautiful angles and capture the fleeting moment of a flower at its peak. All of these disciplines support one another. Those experiences allow me to work more intuitively and become more sensitive in both observation and practice.<\/p>[\/vc_column_text][vc_empty_space height=”4rem”][vc_single_image image=”8557″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_column_text]\r\n

A Dialogue Between Flowers and Ceramics<\/strong><\/span><\/h4>\r\n \r\n

How did you feel experiencing the connection between nature and ceramic heritage within the \u201cMemory Garden\u201d at B\u00e1t Tr\u00e0ng Museum?<\/strong><\/p>\r\n

When I arrived here, I was deeply moved by the garden itself, which was created more than twenty years ago by the late People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng. I found myself admiring every detail \u2014 from the aged pine trees and bonsai to the white lilies and ginger flowers planted along mosaic pathways made from broken ceramic fragments, or the blooming white water lilies surrounded by lush green leaves. The dialogue between flowers from the museum garden and the ceramic vessels of B\u00e1t Tr\u00e0ng Museum Atelier began from that emotional response.<\/p>\r\n

People often say flowers and ceramics naturally belong together. What role does ceramics play in your creative process, and what kinds of vessels are you drawn to?<\/strong><\/p>\r\n

Flowers and ceramics already share a very natural connection. Ceramics become a quiet and steady support that allows flowers to bloom and release their fragrance. When the flowers disappear, the ceramic vessel remains \u2014 like a silent witness to the passing of time. To me, ceramics are gifts born from the earth, carrying the spirit of local culture through forms that feel both gentle and resilient. Because I\u2019m drawn to what is natural, every vessel feels like it carries its own story and breath. Each one offers a different source of inspiration.<\/p>[\/vc_column_text][vc_empty_space height=”4rem”][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8549″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

The naturally twisted branches of white ginger flowers become an ideal material for minimalist floral arrangements when paired with the Blooming<\/i> pedestal tulipiere by B\u00e1t Tr\u00e0ng Museum Atelier.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8565″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
V\u1ef9 Nguy\u1ec5n often gravitates toward white flowers such as water lilies and white ginger flowers. Their restrained palette helps expand the surrounding space and creates a quiet balance between presence and emptiness.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]

Many BTMA vessels have unusual forms, such as multi-spouted tulipieres. When faced with such a challenging structure, how do you approach the relationship between flowers and the vase?<\/strong><\/p>\r\n

Do you know this line of poetry?\r\n\u201cStanding between two streams of water, \/ Should one choose a direction, or simply let the water flow?\u201d<\/em><\/p>\r\n

An unusual vessel always brings interesting emotions, but with a multi-spouted tulipiere, anyone would probably feel a little uncertain at first \u2014 as though standing between two streams. Perhaps I also choose to let the water flow. (laughs) <\/i>In truth, these forms are not limitations; they are creative suggestions. I usually begin by \u201creading\u201d the structure of the vase through its different directional movements, then selecting flowers whose lines are flexible enough to follow that flow. Rather than filling the arrangement densely, I prefer restraint and breathing space, allowing each detail to emerge clearly. I often choose flowers from the Memory Garden that can stretch, lean, or cascade naturally with each spout, creating a continuous sense of movement between flower and vessel.<\/p>\r\n

Many people are intimidated by highly sculptural vases because they seem difficult to arrange. From your experience, what advice would you give?<\/strong><\/p>\r\n

I think even a single type of flower or branch can already create harmony and balance. With vessels that have intricate structures or strong decorative details, the flowers themselves should be restrained. More is not always more beautiful. As people often say, \u201cless is more.\u201d The vase itself is already a complete artwork, so sometimes just a single pomelo blossom or areca branch is enough to create elegance. The more details we add, the easier it becomes for the arrangement to lose its focus.<\/p>[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”8535″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

\u201cNature already allows plants to grow with such grace.\u201d<\/h5>\r\n
Observing and embracing the innate beauty of plants has become an enduring part of V\u1ef9 Nguy\u1ec5n\u2019s floral practice. For him, the ceramic designs of BTMA create a connection between nature and traditional craftsmanship.<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][vc_video link=”https:\/\/vimeo.com\/1194915721?fl=pl&fe=sh” el_aspect=”916″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”2rem”][vc_column_text]\r\n

Stepping Beyond the Comfort Zone<\/strong><\/span><\/h4>\r\n \r\n

Art constantly evolves through cycles of repetition and inheritance. How do you view the changes happening in contemporary floral art today?<\/strong><\/p>\r\n

In nature, flowers are already beautiful without embellishment. But in art, I believe thoughtful combinations can add new emotional layers and create another life for the work. I\u2019ve also experimented with many different materials \u2014 sometimes only leaves, bundles of straw, or wild grasses. Beyond flowers, I find inspiration in painting, music, photography, and ceramics. To me, installation art becomes most compelling when there is harmony between materials, colors, space, and emotion. As society becomes increasingly shaped by digital life, I think floral art and handmade practices will become even more essential, because genuine emotion and human connection can never truly be replaced. These are the spaces where people can touch, feel, and find resonance with one another.<\/p>\r\n

What have you learned from stepping outside your comfort zone and working with unfamiliar materials or environments?<\/strong><\/p>\r\n

Every new journey comes with pressure \u2014 adapting to new people, new places, and finding the right materials. But those experiences have taught me to become more flexible and to trust my own emotions more deeply. I believe the further we step beyond our comfort zones, the more we realize that emotional honesty and inner grounding are what truly help us continue creating.<\/p>[\/vc_column_text][vc_empty_space height=”8rem”][vc_column_text]\r\n

\u201cFloral arrangement is also a form of mental healing \u2014 a kind of meditation. From selecting flowers to arranging and completing the work, each stage becomes a moment of complete presence. It is a union of body, mind, and spirit, closely aligned with the philosophy of Ikebana \u2014 a way of life centered on mindfulness and serenity.\u201d<\/span><\/h3>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem”][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8537″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

\u201cNature already allows plants to grow with such grace.\u201d<\/p>\r\n

Observing and embracing the innate beauty of plants has become an enduring part of V\u1ef9 Nguy\u1ec5n\u2019s floral practice. For him, the ceramic designs of BTMA create a connection between nature and traditional craftsmanship.<\/p>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8533″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

In Ikebana, the arrangement of water lily leaves \u2014 whether young, curled, or withered \u2014 reflects the movement of time. V\u1ef9 Nguy\u1ec5n\u2019s installation on the M\u00e3 Ni\u00ean<\/i> horse sculpture becomes a meditation on memory, time, and origin.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8563″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Every branch and leaf carries its own rhythm and natural form. By observing and understanding that movement, floral arrangements can find harmony within the silhouette of the T\u1ef3 B\u00e0<\/i> vase.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8569″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
The white tones of ginger flowers and the tea-flower vase create a strong contrast against deep green foliage, suggesting the balance between yin and yang in Ikebana philosophy.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8555″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
The bold structure of spider lilies \u2014 with their large blooms and straight hollow stems \u2014 finds balance when paired with the sculptural form of the ceramic boot.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8567″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
There should always be a gentle dialogue between flowers and the vessel, allowing each to enhance the beauty of the other. The Nga Nga<\/i> vase, adapted from an artifact in B\u00e1t Tr\u00e0ng Museum, is paired here with spider lilies.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8561″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
A branch carrying only young buds reflects the Ikebana philosophy of \u201cbeginnings.\u201d A single rose branch placed within the M\u00e3 Ni\u00ean<\/i> horse-tail vase draws complete attention to growth, life, and line.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8559″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
The branching movement of bougainvillea resembles drawn lines in space. Its flexible yet sturdy stems create a sense of freedom and movement when paired with the Blooming<\/i> tulipiere.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”5\/6″ offset=”vc_col-sm-offset-1 vc_col-xs-12″ css=”.vc_custom_1640777591152{padding-right: 2rem !important;padding-left: 2rem !important;}” el_class=”no-indent”][vc_single_image image=”8553″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
The distinctive forms of BTMA vessels become quiet supports for flowers gathered from the Memory Garden, where the lines of each branch naturally respond to the vessel\u2019s silhouette. White ginger flowers paired with the M\u00e3 Ni\u00ean<\/i> horse sculpture.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”0.5rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

*<\/h1>\r\n

Following the journey of V\u1ef9 Nguy\u1ec5n, one begins to see that the consistency in his artistic practice comes from profoundly simple things: the way he cherishes the life cycle of every flower, or his willingness to \u201clet the water flow\u201d rather than control every form. He is not searching for grand artistic manifestos. Instead, he preserves a quiet inner space where the artist\u2019s emotions can remain close to earth, ceramics, and the most modest flowers from the Memory Garden at B\u00e1t Tr\u00e0ng Museum.<\/p>\r\n

For V\u1ef9 Nguy\u1ec5n, stepping beyond the comfort zone is not merely about experimenting with new materials or unfamiliar spaces. It is also a way of understanding himself more deeply, finding harmony with nature, and ultimately returning to nurture the soul through the quiet beauty found within the Memory Garden.<\/p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8543″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

Paperwhite narcissus is especially suited to creating expressive lines in Ikebana. Combined with the tulipiere tower and water lily leaves, the arrangement highlights the beauty of line and negative space within a balanced composition.<\/h5>\r\n[\/vc_column_text][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8551″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
In Ikebana, white is more than a color.\r\nIt is often seen as a point of beginning \u2014 a symbol of emptiness and stillness.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8539″ img_size=”full”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8547″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-4″][vc_column_text]\r\n
Hanoi, March 2026\r\nAn exclusive interview\u00a0 for B\u00e1t Tr\u00e0ng Museum Journal<\/strong><\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_separator][vc_empty_space height=”4rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text el_class=”no-indent”]\r\n
About B\u00e1t Tr\u00e0ng Museum Atelier (BTMA)\r\n<\/strong>BTMA is the nearly 50-year-old ceramic atelier of B\u00e1t Tr\u00e0ng Museum, run by members of the founding family as a way to continue the legacy of the late People\u2019s Artisan\u00a0V\u0169 Th\u1eafng. The atelier researches and refines elements of traditional Vietnamese ceramics\u2014forms, glazes, and motifs\u2014and reinterprets them through contemporary design.\u00a0Alongside preserving the works that shaped the founder\u2019s legacy, BTMA collaborates with artists across disciplines to develop new collections grounded in heritage and shaped by the creative spirit of the present.<\/h5>\r\n
Florist V\u1ef9 Nguy\u1ec5n\r\n<\/strong>has spent more than a decade working in the field of floral art, and is known for projects created for brands such as GUCCI, CHANEL, and BACCARAT. His practice often brings to life the demanding visual concepts behind events with high aesthetic standards. In 2024, at the exhibition \u201cThu ng\u1ea3 em n\u00e2ng\u201d<\/i> at Quang San Art Museum, he presented installation works created from natural materials such as rice grains, rice husks, and dandelions \u2014 reflecting on the quiet transitions of nature and the passing of seasons.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”6rem”][vc_single_image image=”8531″ img_size=”medium” alignment=”center”][vc_empty_space height=”6rem” el_class=”hide-mobile”][vc_empty_space height=”6rem”][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]
\n
\n\t