Bio

Born in 1992, Christian Đinh is a Vietnamese-American artist from St. Petersburg, Florida. Relocating to New Orleans in 2018, Đinh received his M.F.A. from Tulane University. His work has been featured in publications such as The New York Times, The Times Picayune, Frieze Magazine, Burnway, Ceramic Monthly, and Adore Magazine. In 2023, Đinh was a recipient of the Take Notice Fund from the National Performance Network, a grant awarded to BIPOC artists living and working in Louisiana. In 2024, Đinh’s solo exhibition, Trường Ca Mười Ngàn Năm, at the Ohr-O’Keefe Museum of Art in Biloxi, MS, was featured on PBS Newshour and gained national recognition. His work has been included in numerous other exhibitions, including Focus Spotlight: Nail Salon and Knowing Who We Are: The Contemporary Dialogue at Ogden Museum of Southern Art in New Orleans, LA, Delta Triennial Exhibition at Arkansas Museum of Fine Art, Little Rock, AR, Legacy Traces: Recent Additions to the Museum Collection at the Newcomb Art Museum in New Orleans, LA, Blue Norther Exhibition at the Silos at Sawyer Yards in Houston, TX, GBA House Party Vol. 1 at 3.1 Phillip Lim in New York, NY, and the New Orleans Triennial, Prospect 6: the future is present, the harbinger is home.

Statement

My work centers on the Vietnamese culture that emerged in the United States after the Vietnam War and on the vibrant communities built by refugees and immigrants across the country. As a second-generation Vietnamese-American, I see it as my responsibility to tell this often-overlooked part of the story. I use my practice as a visual record of Vietnamese-American culture, capturing the nuances of home, community, and identity to build a living archive of what defines the Vietnamese-American aesthetic.

To explore this aesthetic, I rely on iconic imagery to tell stories. I work with a visual language that feels familiar and accessible across cultures, weaving in symbols rooted in my own Vietnamese-American experience. This allows viewers to enter the work while grounding it in a specific cultural context. I treat universality as a core part of my practice—an approach shaped equally by American and Vietnamese influences. By drawing parallels between cultures, I aim to highlight the connections that bind them.