Vy Kim Anh, Master of Fine Arts,  is a lecturer at the University of Industrial Fine Arts with 15 years of experience in jewellery design. Beyond pursuing her own artistic vision, she has dedicated herself to mentoring and connecting young designers. Anh spoke to Vietnam News Agency about her work and how it employs a mystical, dreamlike visual language, where familiar images open onto deeper layers of the subconscious and imagination.

Could you tell us about your journey in pursuing art in general and design in particular?

I have spent many years working in jewellery design. However, from a very young age, I was fortunate to be exposed to drawing and received wholehearted support from my family. I enjoyed drawing clothes and comics, and that passion for fine arts and design has stayed with me ever since.

Choosing to study this field was something of a serendipitous encounter. Once I began learning, I realised how much I loved creating my own design works that carry a personal identity and voice.

As a lecturer, what do you find most meaningful about teaching?

For me, the most wonderful aspect of teaching is engaging with young people and helping them develop their own style, voice and aesthetic sensibility within the design field.

I remember the first time I supervised students’ graduation theses and saw them achieve very high marks. That experience had a profound impact on my path, motivating me to continue tutoring and supporting students, young designers and young artists as they shape their own professional journeys.

Alongside teaching, you continue to create art and organise activities such as jewellery design workshops. How do you navigate the roles of educator, artist and community connector?

Many people ask why I do not focus solely on my personal projects but instead choose to bring people together. In the past, I myself was quite hesitant in my artistic practice, and I understand that artists are often not very open.

Over time, I realise how important it is to have a community where people can work together and develop their abilities. Such communities allow artists and designers to learn from one another and bring countless benefits throughout their careers.

Recognising this, I step out of my comfort zone to build a community of young designers who regularly collaborate through workshops. Although the community is still modest in scale, I believe it has helped young people become more open and confident in pursuing applied arts and jewellery design as well.

As both a community leader and an artist, what changes do you think are needed to help Việt Nam’s design sector develop further and encourage bolder thinking among young artists?

I place great value on experimentation, original intelligence, and respect for nature. This has become a clear tutoring principle in my work, both as a designer and as someone leading disciplines within applied arts.

For young people, I would encourage the use of diverse materials and, most importantly, the use of their own minds and hands rather than relying on AI. This is especially crucial at a time when AI is increasingly encroaching upon the creative output of young designers.

As someone who embraces a global outlook in teaching, I believe educators in Việt Nam must continuously learn from international peers. Only with a more open mindset can we truly support students in developing their own styles and discovering their individual artistic paths.

What are your next plans?

At present, and in the future, I plan to continue creating new works, further researching materials, and organising more events and learning opportunities for students and young people passionate about jewellery design.

Through these efforts, I hope to make a modest contribution to the development of Việt Nam’s applied arts sector.