Born and raised in Tinh Ky, a coastal village in Quang Ngai Province in central Vietnam, 40-year-old Manh has always been passionate about depicting the beauty of Vietnam through his art. In March, he set off on a 12-day road trip along 13 coastal routes in the central and southeastern regions of the country.
One of his stops was Ke Ga Cape, where he painted the landscape in the morning. Manh expressed his regret that he couldn't visit Ke Ga lighthouse, the tallest and oldest in Vietnam, but could only admire it from a distance.
His journey included stops in Binh Thuan, Binh Dinh, Ninh Thuan, Phu Yen, Binh Ba Island in Khanh Hoa, Hoang Hau Beach in Quy Nhon, and more.
The photo shows Dai Lanh Cape in Phu Yen Province. Mon Beach and Dai Lanh Cape (also known as Dien Cape) were recognized as national scenic spots by the Ministry of Culture, Sports, and Tourism in 2008.
Growing up in a coastal fishing village, the sea has always been a part of Manh’s life, bringing back many memories. During his visits, he would capture the beauty of the sea in his paintings as a memento of his journey.
One of his paintings depicts Ganh Den lighthouse in Phu Yen Province, which he noted was difficult to reach due to the rugged terrain, intense sun and winds. He painted this piece during a morning visit.
In the afternoon, he moved on to Da Dia Reef, a nearby site, to continue painting.
Painting outdoors gives Manh a strong connection with nature. This method, where he paints directly from the landscape, helps him capture shapes, compositions, and colors. Despite challenges like light and space, Manh finds the experience enriching and energizing.
"I hope that through my paintings, people will develop a greater love for the sea," he said.
Manh encountered many difficulties while traveling through the central region, as most of the roads were uneven. However, once he reached each destination and witnessed the landscapes, these challenges only enhanced his motivation.
Thao Nguyen Rock on Cu Lao Xanh Island in Binh Dinh Province was challenging to access, requiring him to climb over rocks along a cliff. He spent the entire afternoon completing his painting of this area.
During his stops in the coastal fishing villages of central Vietnam, he enjoyed reasonably priced local delicacies. He set up camp in open spaces near the beach, where the villagers were always ready to help whenever he needed assistance.
At Cu Lao Xanh, locals directed him to a camping spot and even offered him drinking water.
"I feel incredibly grateful for everything. Life has given me so much," Manh said.
The photo shows the pier at Cu Lao Xanh. On average, it takes Manh 3-4 hours to complete a painting.
Vi Rong Cape was the final destination on Manh's first cross-country journey. He noted that Vi Rong is still a lesser-known location. Before arriving, he had to rely on maps and even got lost several times before finally reaching his desired spot.
He arrived at Vi Rong around noon, parked his bike at a local's house, and walked quite a distance. He was overwhelmed by the beauty of the area, describing it as "magnificent".
After his trip, Manh kept his paintings and displayed them at his studio in Quang Ngai Province.
On April 21, Manh started a second journey, lasting 18 days, to paint the landscapes of southern Vietnam.
In this region, Manh faced difficulties due to long walking distances and the need to carry his painting supplies. Most of his painting spots were exposed, with little shade from the intense heat. Since there were no continuous coastal roads in the southwest, he had to navigate multiple ferry crossings.
The photo shows Tan Thanh Beach in Go Cong City, Tien Giang Province, which Manh painted on April 24. The painting captures the coastline and the clam farms typical of the region.
Manh's second journey began at Nghinh Phong Cape in Vung Tau and continued through Can Gio District, Tien Giang Province, and finished at Nai Cape in Ha Tien City, Kien Giang Province.
The photo shows Shark Cape in Con Dao Island of Vung Tau, where Manh completed his painting in four hours, under the shade of the coastal trees.
The most memorable painting spot for Manh was a small village in Ca Mau Province, where he set up his easel right on a bridge. The local residents welcomed him, bringing water to refresh him as he painted under the sun, and even children helped by providing shade.
Despite him sitting in the middle of the only bridge in the village, no-one complained about the inconvenience.
Choosing the perfect spot for his easel was often a challenge, as Manh needed an ideal location to capture the best perspective for his composition. Most of the coastal terrain was uneven, sunny, and windy.
This particular painting was done on Nam Du Island in Kien Giang Province, at a fishing pier.
