Linh Hoang Tran

Your life journey includes a very early migration from Vietnam to the United States. How has this experience of displacement and adaptation shaped your artistic identity and emotional world-building?

Through my very early migration from Vietnam to the United States, I had to grieve the childhood that I once had during my six years of life in Vietnam and the family members who I will not have the chance to see everyday. It was a sacrifice that my parents have made for me to have a better life and a better future. My first days of elementary school were a struggle. I became known as “The New Student”. The only female Asian student that was wearing a white and blue navy dress for a school uniform which is not typical for students there. The mandatory uniform policy at my school at the time was plain navy blue or white collared shirts, paired with navy blue, tan, or khaki bottoms which can be pants, shorts, skirts, skorts, and jumpers. There weren’t any rules for shoe types. There are no hats allowed indoors. I felt very out of place when I wore my white collared and navy blue dress to school on the first day. The only language I was able to speak was Vietnamese and I was placed by the school into ESL (English Second Language) from Kindergarten to 6th Grade. It was a time when making friends was the hardest for me. I became a victim of bullying. To me, life then was rough. I felt really lonely and depressed. I always felt that I was falling behind everyone in class. I didn’t have anyone to talk to except for my parents and I always felt homesick. I was dealing with a lot of trauma that affected me emotionally and physically. I was able to make friends in third grade and fourth grade. I attended Chinese School after school for homework help. I get to play basketball, take drawing class, perform, and learn Chinese with friends. Some of the people that I were friends with either moved to a different school or we grew apart after sixth grade graduation. I had a lot of memorable memories. There were good things that happened to me during my time in elementary. I got better at speaking, writing, and reading English. I am grateful for the morning assemblies, Scholastic Book Fairs, Scholastic Book Order Forms, Highlight Books, Holiday celebrations, field trips, food, getting Honor Roll, friends I’ve made, getting introduced to the violin family, school staff, and the afternoon lunches. On Christmas, I got to play the role of Cindy Lou Who From The Grinch Who Stole Christmas, I learned a dance where I skipped backwards, and performed to Miley Cyrus’s The Climb Song. I’ve made new friends at a tutoring center that I attended at the time for help with homework. I received Student of The Month in sixth grade. I used to be an extrovert before migrating to the US. After migrating to the US, I became an introvert because of the struggles that I went through. The shows of Disney, Nickelodeon, Cartoon Network, Qubo, Vietnamese Television, and Asian Dramas became a safe place for me. It is a place where I do not get judged. V-Pop, Pop, and K-Pop became another place that I found comfort in. These experiences shaped my current artistic identity. I learned to adapt, be resilient, and use my voice through art to tell my story as a Vietnamese-American immigrant. When world-building, I rely on my emotions and the message I want to bring to my art. I always try to include a piece of Vietnamese elements that honor heritage, embrace personal identity, and connect deeply with those who see my art.

Many of your works feel deeply nostalgic and childlike, yet also complex and symbolic. What role does childhood memory play in your creative process?

Childhood memory plays a huge role in my creative process. It is a way for me to honor my past, embrace entertainment that I grew up with, to heal my inner child, and a tribute to my homeland. My childhood in Vietnam was a beautiful time in my life and I want to preserve it in my works. I am a Vietnamese, who will always be proud to be Vietnamese, no matter where I am in the world.

You often reference fantasy worlds where nature exists without human interference. Is this an imagined refuge, a form of critique, or a future vision?

I view fantasy worlds as an imagined refuge, a future vision, and a way to escape reality. Life can be tough. Fantasy worlds can be a healing and therapeutic place to visit. I visit these fantasy worlds through reading a book, watching films, and through world-building in my art. When I was little, I spent the first half of my childhood in Củ Chi District, a rural district that is an hour drive to the city. My maternal grandma’s house was behind the Saigon River and to get over to the other side. My mom or a family member would drive a motorbike with me sitting behind. The motorbike would be driven on a motor boat which acts like a ferry. It was a form of transportation for the citizens who live. The motor boat would take us along with other citizens to the other side. My mom would usually go to either buy fresh produce from wet markets, buy my favorite snacks and drinks, buy hot food for the day, take me to preschool, or the night market for some late night snacks. In the afternoon, I would take naps on a hammock that were hung from huge wooden poles, a mattress on the tile floor, or fanned by my mom to sleep on a wood veneer bed. I really enjoyed the gust of wind breezing by me and the silence filling the air. The country lifestyle has helped me to slow down everything around me and take things slowly. To me, the fantasy worlds give me a sense of belonging that is similar to what my life in the countryside used to be.

Animation Studios such as Studio Ghibli, Disney, and Tim Burton strongly influenced your generation. How do these visual languages translate into your own artistic universe?

Studio Ghibli is known for nostalgia, whimsical storytelling, raw emotions felt from the animated characters, and nature. Disney is known for fairytales, Disney Princesses, and theme songs.

Tim Burton is known for dark, gothic, and whimsical storytelling. Studio Ghibli, Disney, and Tim Burton are a few inspirations that I have in my work. Studio Ghibli and Disney are visually translated into my characters and world-building that I have created in my illustrations. Tim Burton is visually translated into my traditional artwork, digital artwork, clothes that I created during my undergrad, and my fashion sketches found in my sketchbook.

Linh Hoang Tran | The Fireflies Of Nostalgia | 2025

Your practice spans traditional textile techniques, digital art, and fashion design. How do you decide which medium best serves a particular idea or emotion?

I would start with an idea of what I want to do, the story that I want to tell, and how I can do that through the medium that I will be using to create the art. I would choose traditional textile techniques if I want to tell a story of the past, present, and future. I would rely on the colors and textures to help create the emotions that I want to convey. I choose digital art for a particular idea that I struggle to do traditionally and perfectly. I see digital art as a form of convenience. Digital art allows me to use all of the colors that I want without being limited to one color. I can use the undo button whenever I make a mistake. I choose Fashion Design when I want to storytell through textiles, textures, colors, symbols, and history. I see Fashion Design as a way for me to create accessibility, diversity, inclusivity, cultural identity, environmental impact, and innovate. I want people to see my work and feel that they can relate to the message that I want to convey through my pieces. I envision creating a collection that challenges mainstream aesthetics and reflects the Vietnamese-American immigrant experience.

You describe your work as whimsical and fantastical, yet themes of loneliness and identity often emerge. How do you balance playfulness with emotional depth?

I do not feel that there is a way to balance playfulness with emotional depth. I feel that sometimes there is too little playfulness and more emotional depth. Sometimes it would be more of the other way around. I rely on my gut feeling and I would think about what I can do to make my art feel just right in my eyes.

Linh Hoang Tran | The Pierced Heart Of A Pageant Girl And An Fallen Angel | 2025

Looking forward, how would you like your imagined worlds to evolve, and what do you hope viewers feel when entering them?

I would like my imagined worlds to evolve into something big, beautiful, nostalgic, and a place to revisit during hard times. I hope that when entering my imagined worlds. The viewers will feel at peace. They would see these worlds that I have created as a safe place where they can be themselves without judgement. They can feel a sense of hope and belonging.