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INSTALLATION

2019 | SPEED 2 at Malmö Konsthall, Sweden (March 16–May 26, 2019), united artists Vi Khi Nao (b. 1979), James Richards (b. 1983), and Leslie Thornton (b. 1951). At the heart of the exhibition is Nao’s book Sheep Machine (Black Sun Lit, 2018), presented in its entirety on a monumental scale, spanning six by three meters. This ekphrastic work, composed in response to Thornton’s video art, is displayed across full-length columns on the gallery walls—forming a direct visual and conceptual dialogue with the very Thornton videos that inspired it.

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SPEED 2 takes the form of three major new commissions by James Richards (b. 1983) and Leslie Thornton (b. 1951), Vi Khi Nao (b.1979)

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Speed 2/Sheep Machine Malmö Konsthall photos: Helene Toresdotter

PHOTOGRAPHY

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1. /2. /  3. / 4. / 5. |  2025 | Nancy Holt's Sun Tunnels | Box Elder County: Utah | Ali Raz, Daisuke Shen, Vi Khi Nao

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6. 2021 | "Collective self-portraiture" with SWHNM | Half-Moonbay, CA | Participants: Dao Strom,  Angie Chau,, Anh-Hoa Thi Nguyen, Diana Khoi Nguyen, Isabelle Thuy Pelaud, Aimee Phan, Julie Thi Underhill. Photo: Vi Khi Nao

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7. 2021 | "Collective self-portraiture" with SWHNM | Half-Moonbay, CA | Participants: Vi Khi Nao,  Angie Chau,, Anh-Hoa Thi Nguyen, Diana Khoi Nguyen, Isabelle Thuy Pelaud, Aimee Phan, Julie Thi Underhill. Photo: Dao Strom

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DRAWINGS

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TEACUP PEOPLE

1.  2012 | Teaset Nude 3 | pen & ink on drawing paper, 8in x 11in.

2. 2012 | Teaset  Nude 1 | pen & ink on drawing paper, 8in x 11in.

3. 2012 | Teaset Nude 2 | pen & ink on drawing paper, 8in x 11in

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BOAT PEOPLE

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4.  2024 | Rome Skull Boat People |  Tiffany Lin & Vi Khi Nao, pilot pen & chalk paint  on Ingrid paper, 24 in X 18 in 

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5.  2023 | Boatwoman in Red Bicycle | Watercolor on scanned refugee document on photo print under acrylic glass, 12.3in X15.8 in

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6. 2023 |  Ba Ba Ganh Boatwomen | watercolor on watercolor paper | 18 in X 12 in

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BLACK & WHITE

7.   2019 | Ballet Fishface | pilot pen on drawing paper, 8in x 11in.

8.  2021 | Lightbulb Dudes | pilot pen on drawing paper, 8in x 11in.

9.  2019 | Jackfruit Lady in Black & White  | pilot pen on drawing paper, 8in x 11in

FILMS

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1. 2014 | "Breathe Medium" | Photographer Scott Indermaur and Vi Khi Nao collaborated on "Breathe" and "Liquid Mucus," video poems presented at Providence's John St. Studios for Design-Driven Performance, directed by Erik Ehn for the inaugural "Image + Word Space/Time Challenge."  The project paired eleven visual artists with eleven writers for a 48-hour creative experiment where images begin the conversation and text provides the response. "Breathe medium" featured composer Derek Piotr and vocalist Tipu Attar.​

2. 2015 | "Light: | Filmed in Las Vegas,  a video about  the music of light with "Light Presence" by sound artist, Derek Piot,r and cinematography by Vi Khi Nao

3. 2015 | "Shadow" | Filmed in Las Vegas, a video based on Shadow Music theme with "Shadow Patterns" by Derek Piotr & cinematography by Vi Khi Nao

4. 2011 | "Writing & Body Building" | Filmed in Providence, RI, a  performance art piece by Vi Khi Nao 

5. 2013 | “In the Diurnal Bath"| Film based on Vi Khi Nao's nonfiction “The Pancreatic One-Night Stand” and her poem "In the Diurnal Bath" | Filmed in Providence, RI, and New York. Created and directed by writers and filmmakers: Gargi Harithakam and Vi Khi Nao ; Ari Kalinowski, digital artist; Meredith Luby, writer; Derek Piotr, composer; narrator's voice, Susannah Pabot. Video poem presented at the McCormack Family Theater on May 4, 2013

6. 2013 | “Freshly Squeezed” | Sex-fruit video installation and performance. Presented at the Perry and Marty Granoff Center for the Creative Arts. Filmed  in Providence, RI & directed by Vi Khi Nao +  Stephen Olsen ; Derek Piotr, composer; Carah A Naseem and Alexander Stuth and Vi Khi Nao, vocals. 

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7. 2021 | "Recklessly" | Based on my poem with the same name, this video is my contribution to the SWHNM panel, as part of "The Ecological Sounds of the Vietnamese Diaspora." Proposed by Diana Khoi Nguyen and Dao Strom for the 2021 conference theme "Unsettling Transpacific Ecologies," this session examines the crucial role of sound in ecological health. The discussion navigates the boundaries between sounding and silence within the diaspora.

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8. 2019 | "Persimmon" | Filmed in Las Vegas, a very short video on the clitoris of the persimmon.​

9. 2021 |This video serves as a cinematic companion piece, created in harmony with our chapbook of the same name, based on FUNERAL. The film is a direct homage and response to Toshio Matsumoto's groundbreaking 1969 avant-garde masterpiece, Funeral Parade of Roses. To craft this visual film, we wove together footage captured across the American landscape—from the bustling streets of Denver and the historic avenues of Philadelphia, to the quiet corners of Iowa City and Des Moines, and further to the vibrant energy of New York and the expansive views of Henderson. This geographic diversity mirrors the fragmented, journey-based narrative of our story. The foundation of this project is the novella, based on FUNERAL, co-authored by Daisuke Shen and Vi Khi Nao, with a release date of November 2, 2021. It is a multi-modal work of fiction, boldly structured through prose, images, alphabetical lists, diagrams, songs, and miniature plays. This experimental form is an attempt to capture the fractured psyche and surreal experience of its characters.

10. 2018 | "My Spine" | Filmed in LA based on Vi Khi Nao's poem of the same name. Char McCutcheon, vocal/music. Edited by Vi Khi Nao.

11.  2019 | Filmed in Death Valley, California, in December, and exhibited at East Las Vegas Library, "One Day I’ll Have Vietnam Again is a performance-based video work in which poetry accompanies footage of two women dressed in traditional Vietnamese áo dài walking through the desert, eventually cracking open a durian. I wrote the script and the poem—which I also recite—and performed both in the film and in subsequent live iterations. The footage was shot and edited by collaborators. This project synthesizes my interdisciplinary practice as an artist working across genres. Through performance, I seek to connect my work in prose, poetry, and visual art—mediums that often remain siloed. In this piece, I explore intermedial translation, such as using poetry as a form of narrative voiceover, alongside questions of cultural translation. Rooted in the Vietnamese diasporic experience, the work reflects the dissonance of inhabiting foreign landscapes and the ongoing process of making home in unfamiliar terrain. It is the first in a series that investigates both the abundance and scarcity embedded in diasporic life. With the use of drone footage, we aimed to create a contrast between the high-tech American landscape and the small, vulnerable figures moving through it. These two women traverse an environment that alienates them both in scale and ecology, confronting the challenge of learning to inhabit it. Their eventual response is affective rather than pragmatic—arriving at a mode of emotional survival. The act of eating durian becomes the emotional heart of the piece; the fruit functions as a vessel for memory and home, however tenuous. In live performances, I invite audiences to split durians themselves, echoing the gesture in the film and physically entering the sensory world of the fruit.

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