 Sulawesi I don't remember when was the first time I came upon the name Sulawesi, but it was a long long time ago. The sound 'Sulawesi', just like 'Masai Mara', 'Wyoming', or 'Galapagos', has a special effect on my subconscience, triggering a mixed sense of mystery and enchantment, urging adventure. In terms of scientific exploration, maybe there is much less to discover than at the time of R. Wallace and Darwin, but for me, even following the footprints of these great explorers in these places is a wonderful experience. Yaki My dream of Sulawesi adventure started to come true in Phnom Penh, where I exhibited a series of paintings of wild animals of Asia, and met Harry Hilser. When I learned that he worked for conservation in Sulawesi, I knew I had to keep his name on my list. Luckily, he liked my artwork and a mutual friendship and potential collaboration started to develop. About more than one year later, I landed in Manado for the first time, under his invitation. More than just being a welcoming host, he introduced me to the Selamatkan Yaki Programme and its lovely team who worked on Yaki conservation. And then I met the real Yaki. I always knew Macaca nigra (Yaki by local name) by the French name 'Macaque des Celebes', which at the time sounded more romantic. The animal itself also takes a bit of time to be appreciated.  Pages of my travel diary on the Sulawesi, Manado, Tangkoko chapter Yaki and Its Artistic Challenge You need close study to appreciate Sulawesi Black Macaque's charisma and beauty. Just a uniform black in colour, with no cute long tail and other particular features except a heart-shape red buttock, its appearance is unremarkable at first sight. No wonder why people pay less attention to it than say, the panda or the tiger. Purely unfair. It does as much good to its environment ecologically speaking as the tiger to its habitat, and maybe more than the panda to the bamboo forest of China. Indeed most fauna and flora of Sulawesi is endemic, and they form tight bonds to ensure each other's survival. The Yaki, itself also endemic to the island like the 6 other species of Sulawesi macaques, is no exception. Without it, the forest suffers. Artistically, it's a challenge to make the all black primate look interesting. But I like the challenge and push it further by often painting it on a black background, sometimes even hiding its red-buttock asset.  Why Painting Yaki Painting the Yaki, or the pangolin, the ferret-badger, the flat-headed cat, the sarus crane... or other least known creatures of Asia is somehow more rewarding than doing the big games of North America or Africa. Least known, least painted, the formers offer more flexibility in creativity. There are no previous work to follow, nor many references to document upon. But bigger than the challenge is the feeling of doing justice to these less popular animals, at least visually. I hope, by sharing my passion for the Yaki, many people will also see them under a different light, emphasiz- ing their forms, colours and textures in nature rather than seeing them as meat, fur, medicinal bones or other commodities to serve the selfish human species.
Yaki Magz Issue III
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Very few individuals in the world have been fortunate to lay eyes on an Annamite-striped Rabbit, a unique rabbit with stripes like a tiger, only discovered by science in Southeast Asia in the mid-90s. Among them, however, is GWC associate conservation scientist Andrew Tilker, and thanks to his friend artist Dao Van Hoang, Tilker will be reminded of the experience in the most beautiful possible way: in a stunning one-of-a-kind painting of the lagomorph.  The Annamite-striped Rabbit painting is only one of the many acrylic paintings and sketches that make up Hoang’s extensive portfolio of endangered species, many of them endemic to Southeast Asia, including one of GWC’s priority species, the elusive antelope-like Saola (depicted in Hoang’s painting at the top of the page). We connected with Hoang to learn more about his artwork, his inspiration and his passion for capturing the beauty of the world’s biodiversity.  The Pangolin is a frequently trafficked species, and used as food and medicine in Vietnam. What role can artwork like yours play in helping people appreciate endangered and rare species? In Southeast Asia, animals don’t have much dignity, to say the least. Wild animals are mostly seen as food, and they become rare and endangered for that reason. People see them as pieces of meat, dead, discolored, dismembered and disfigured as body parts like blood, fur, scales, dried in the sun, rotten on transport vehicles, tortured…no matter how beautiful they are alive. I want to give them their dignity as beautiful creatures, species that have as much of a right to live on Earth as Homo sapiens. I think artwork like mine can help people appreciate animals in their glory.  Where do you get the inspiration for your artwork? I get inspiration from reading books and watching wildlife documentaries, but mostly from watching animals in the real world. Even when I don’t see them, I get a lot of inspiration from being in their wild habitats with biologist friends, who share their animal encounter stories. Then I try to imagine them in certain settings, times of days, atmosphere, rain or snow, their behavior, things they do, things they eat, how they interact with other species, predator-prey etc. Art from great wildlife masters such as Robert Bateman and Ray Harris Ching also provide lots of guidance. Every now and then, a great photograph or a piece of abstract art can also give me ideas. What do you hope people feel when they see your artwork? I would like people to be enchanted, to feel empathy for the creature. I also want to transfer certain scientific knowledge. If you get to know more about an animal, its uniqueness, you will see it more like a single creature rather than a mass food source or other commodity for humans’ use. I want them to say: “I’d like to know this animal better.”  GWC associate conservation scientist Andrew Tilker with artist Dao Van Hoang and the unique gift of an Annamite-striped Rabbit painting. How did you develop your love of animals? How did wildlife become the focus of your artwork? My love of animals and passion for wildlife art came at three significant stages: from a very early age of maybe two years old, I was already very interested in animals. My mum used to take me to the zoo. I collected images from books-in the ’60s in Vietnam, books on animals were rare and mostly in black and white, but I knew almost all the animals of North America and Africa through books. In the ’80s, when I started living in France, I came across a R. Bateman book and always wanted to paint wildlife like him. Then in the late ’90s, when I returned to my country, I got interested in the wildlife of Southeast Asia, which are so diverse, so exciting but also so poorly known. I wanted to paint them so that people would learn about their existence-and their beauty, too. What was the motivation for creating the beautiful Annamite-striped Rabbit painting? I met biologist Andrew Tilker, a researcher in the Annamite, during an exhibition in Phnom Penh. He talked about his work there on Annamite-striped Rabbit and other animals. The Annamite-striped Rabbit that I knew of before started to come alive in a more tangible way, especially when reading his blogs. This painting is the start of a future series of paintings that I want to do of all the charismatic animals of the Annamite, which we call Truong Son (Long Mountains Range in Vietnamese).  Hoang experienced the same challenge with this pieces as he did with painting the Annamite-striped Rabbit–he’s never seen either species. Archaeoindris is an extinct lemur, as big as a gorilla that lived in Madagascar about 3000 years ago. The only evidence of the species comes from a skull. Have you ever seen an Annamite-striped Rabbit? If not, what was it like capturing it in a painting? I’ve never seen the rare Annamite-striped Rabbit except in photos, which makes it difficult to capture in painting but also exciting as a challenge. I also like painting extinct animals (from which exist only fossil bones or partly broken skulls) for the same reason: it’s a good kick to the imagination, envisioning their anatomy, their stance, their pose, then imagining the habitat, the weather, the climate they live in-or used to. Then I imagine the way the light hits them, producing contrast, making the image more believable, but also poetic. In addition to painting, do you do other forms of artwork? If so, what? I make clay models sometimes before starting a painting, to help see the volume. I do quite a lot of artwork digitally, too. I write occasionally, and would like to get more into sculpture, wood carving, lithography. But for now I haven’t explored all my potential with acrylic on canvas, so I’m still very happy going with it for a while.  What is your favorite wildlife species, and why? It’s very hard to decide. I love reptiles, snakes, lizards and frogs, but also birds and big cats. I got to paint a lot of primates and have started to like them in particular recently. I even enjoy drawing species that are not often loved by people, such as hyenas, rats, spiders and scorpion. But if I’m forced to decide on one favorite animal, I would say it is very cliché: the tiger. Exciting to watch, exciting to paint. Anything else you’d like for people to know about you or your artwork? I love traveling, especially in the tropics. I have been in almost 30 countries to date, across five continents. I want to see the tortoises in the Galapagos, the Komodo dragons in the wild, birds of paradise in Papua. For me, painting is not for the sake of making art, but a way of learning. By going through an animal’s anatomy with my brush, I get to understand how its body works, skin, muscle and bones. I get to know them better, how they live, how they feel, sitting up there on a branch, wet in stormy weather, for example. I wish I could make wildlife art for the rest of my life, and I hope my art contributes to the conservation of the species. Lindsay Renick Mayer - December 2016
 Wildlife Spotter Wildlife artist Dao Van Hoang was born in Saigon in 1964. He grew up in later era of Saigon than Hoa, but he remembers a lot of wildlife that's now disappeared from the city. "I used to net lots of colourful butterflies around Tan Dinh district where we lived, in the 70s," Hoang said. "I guess I contributed to their extinction in the city. We don't find so many now." Hoang, who returned to Ho Chi Minh City in 1996, 17 years after fleeing on a boat, always keeps an eye out for wildlife in the city. "You don't see the huge tokay geckos in the city anymore," he said. "I think they've all ended up in rice wine. But you do see little geckos everywhere. There are probably many different species, including the ones who camouflage themselves on the dark bark of Hopea odorata trees."  Like most Ho Chi Minh City residents, Hoang regularly sees squirrels, bats, birds and lizards in the city. His keen eyes have also spotted some rare insects, including a pair of Atlas moths, as well as frogs, skinks and calotes, a genus of the lizard family. He was thrilled to find some flying tree snakes and some Asian grass lizards near his apartment in Thao Dien in District 2.
The venom of flying tree snakes are only a danger to small prey. But local news outlets regularly report cases of the venomous white-lipped pit viper (trimeresurus albolabris, known as the red-tailed viper in Vietnamese) in Ho Chi Minh City. Artist Introduction Hoang was born in 1964. He first drew with chalk on his mother’s concrete floor, at her home in Saigon, when he was about 2 years old. He developed a passion for wildlife early in his life, whilst accompanying his mother to the Saigon zoo. Afterwards, Hoang would return home and make picture books with photos of animals cut out from magazines.  In 1979, four years after the war ended, he left Vietnam by boat, as a refugee. After arriving in France in 1980, Hoang was able to study computing, and ultimately gained employment in Paris for the next 16 years, before returning to Vietnam in 1996. Soon after his return, Hoang joined an advertising agency, as an Art Director, and eventually rose to become Creative Director for several agencies for more than 15 years. In 2013, Hoang decided to quit advertising, and to devote himself entirely to full time, wildlife painting. Since then, Hoang has completed numerous illustrations, commissioned murals and concept designs, for interpretation centers, national parks and public spaces, all over Vietnam. He also contributes to educating children about nature and the environment in Vietnam with his art and illustrations. Hoang has a preference for tropical regions, Africa, Central and South America. And after having visited more than 25 countries in his life, Hoang continues to travel throughout the world to draw wildlife, nature. His work consists of acrylic paintings on canvas, with a detailed and realistic rendering, portraying animals with typical poses and behavior in their natural habitats.  • Dear Hoang, could you please share with us how your journey toward art started ? What inspired you to take up art? Great to talk to you too Prasad! I began to draw very early in life, let's say when i was about 2-3 year old with chalk on the concrete floor. Of course all kids draw, so one can’t really tell if it is born talent but I never quit drawing ever since. Couldn’t attend fine art school however I have been self teaching with books all the time, learning techniques related to art. All kinds of painting mediums, anatomy, perspective, landscapes, science illustrations etc. Have also developed a passion for nature and all animals since I was young. Art of Robert Bateman inspired me, ever since i always wanted to become a Wildlife Artist. This dream came true after quitting a long career in advertising. • May i know what mediums do you like to work with the most and why? For big pieces of fine art I use acrylic, either on canvas or on board. I would love to use oil more however due to the odor and long cleaning process, this medium is not suitable for my working space with children. I don’t have the luxury to practice much. I maintain several travel diaries for which watercolor is the preferred medium for its spontaneity and speed. Digital medium works well for scientific or children book illustrations.  • May i know how you learn this artform? Do you have a Mentor? As mentioned earlier, I didn't have a chance to meet a Mentor! So all of it is self taught. • May i know who is/are your favorite artist/artists? There are two Masterclass Wildlife Artists i admire and it is hard to choose between the two. The Canadian artist Robert Bateman and the UK/NZ artist Raymond Harris-Ching. • May i know how your stay in France influenced your artlife? The time in Paris opened my eyes to art in general and this particular subject-art form which is wildlife. I was very well exposed to, not only museums but also great wildlife art books in big stores which we don’t have in my home country Vietnam. France has many national parks and nature reserves easily accessible. So from the artwork of other artists in museums and in books to the real natural outdoor, the inspiration is endless. • Could you elaborate the challenges one faces during the pursue of art career, especially for nature artists? Also if there are ways to overcome these challenges? To be really honest, I’m still struggling making it work financially however it is rewarding when you have good appraisals and appreciations in solo exhibitions. It feels great to hear from your potential buyers/peers and that’s what makes you want to persevere in your career. Of course among making real fine art, you also have to tackle other more viable commissions to feed your art career. I’m lucky enough to be able to make some of my favorite wildlife subjects through murals for national parks, design environmental exhibition centers. Illustrating wildlife children books and other communication materials with the same subjects is something i do. Teaching kids nature art also helps. So the challenge is big however if you choose the right path that is if you choose the right project – it can be rewarding and you don’t need to think about it as much as challenge but rather life learning experience.  • May i know your kind views on need for a society for nature artists and what can be achieved through such community for artists?
We nature artists definitely need a common intellectual, even spiritual space to share passion and experiences with each other. Therefore a society to achieve such things is very welcomed. For neophytes it helps to build their confidence by getting advice from the masters. It also benefits everyone to see each other’s works and get a fresh perspective onto their own. From a conservation point of view, the collective work of the society can bring honest and realistic views of the current state of nature to the general public. Also the attitudes of the artists via their artwork can send strong visual messages to influence government in their decision making and inspire young. • What would be your top five tips to becoming a good wildlife artist? Tip #1: Spend a lot of time in the field, there is no substitute to seeing the real thing! Tip #2: Practice every day, there are no short cuts! Tip #3: Learn anatomy, be accurate, learning never stops! Tip #4: Trust your emotion, don't doubt your conscience! Tip #5: Care for details, for nature is full it!  Dao Van Hoang, artiste autodidacte, nous a reçus à son studio galerie dans Le Petit Musée. Entouré d’aquarelles de plantes exotiques et de peintures d’espèces sauvages, il nous a conté son histoire. Ou comment il est tombé amoureux de la nature depuis son plus jeune âge et s’est continuellement formé pour enfin devenir artiste animalier. Aujourd’hui, il travaille avec des ONG et des parcs nationaux, afin d’éduquer la jeunesse et sensibiliser à la conservation des espèces. Pouvez-vous nous raconter votre parcours de vie avant de devenir peintre animalier ? Je suis originaire de Saïgon. A 15 ans, en 1979, je suis devenu un boat people, laissant ma mère au Vietnam. Après 10 jours en mer, j’ai passé plus d’un mois dans un camp de réfugiés en Indonésie avant d'être recueilli en France dans un foyer pour réfugiés à Créteil. On était très bien traité et c’est là-bas, que, pour les fêtes de Noël, j’ai reçu mon premier livre d’anatomie comme cadeau. Mon arrivée en France m’a ouvert de nouveaux horizons et plongé dans un nouvel environnement culturel. Un souvenir marquant est la découverte, à la FNAC, d’un livre de Robert Bateman. C’est un peintre animalier canadien, qui est encore mon héros à ce jour. Après avoir passé mon baccalauréat en France, je n’avais pris aucune orientation. Je ne pouvais pas devenir artiste, ce n’était pas une carrière selon les critères vietnamiens ! Comme l’informatique était un domaine en plein essor, j’ai pris ce chemin puis travaillé quelques années dans l’électronique et la réparation. A côté, j’ai toujours continué à dessiner et à me former en autodidacte. J’ai enfin réussi à mettre un pied dans le graphisme dans les années 90, grâce à un ami qui m’a trouvé un travail dans une imprimerie chinoise située dans le XIIIème à Paris. Le week-end, je dessinais donc des illustrations de plats pour les menus de restaurants vietnamiens. C’est alors que le Vietnam commence à s’ouvrir. J’y suis parti donc deux semaines pour voir ma mère. Je suis revenu en France pour faire l’armée, puis devenu graphiste en agence de publicité jusqu’en 1996. Après 16 ans passés en France, je prends trois mois de congés sabbatiques et retourne voir ma mère. Je trouve vite du travail dans l’agence de publicité Léo Burnett et reste au Vietnam. Ma mère nous quitte en 2006, à 92 ans. Mes frères et sœurs vivant à l’étranger, j’hésite à repartir. Finalement, je reste car je rencontre ma femme et nous nous marions en 2009. En 2013, je me mets à mon compte en tant que graphiste et développe enfin ma carrière de peintre animalier.  Comment avez-vous basculé vers la carrière de peintre animalier? D’aussi loin que je me souvienne, j’avais une craie à la main et dessinais par terre déjà des animaux. Je suis en contact avec le dessin depuis mon jeune âge grâce à ma mère, qui a toujours encouragé cette passion. C’est elle aussi qui m’a permis d’avoir mon premier contact avec les animaux. Elle m’amenait régulièrement au zoo de Saïgon. A l’époque, dans les années 60, nous avions peu de moyens. Donc, je découpais des images d’animaux dans des magazines en noir et blanc, afin de créer mon premier carnet. Comme je vous l’ai dit, je dessinais et peignais toujours en parallèle de mon activité professionnelle. En 1996, j’ai fait connaissance avec l’ONG liée au Parc National de Cat Tien, et j’ai participé sur mes week-ends au projet de conservation du rhinocéros de Java. Le projet s’est fini en 2004 et, malheureusement, le dernier rhinocéros de Java du parc a été abattu par des braconniers en 2010, amenant à la disparition de l’espèce au Vietnam. Depuis, j’ai travaillé avec beaucoup d’ONG et mes projets se sont de plus en plus orientés vers des projets de conservation des espèces. En ce qui concerne ma carrière de peintre animalier, tout se déclenche réellement en 2014. Je lis sur internet qu’une conférence de primatologistes aura lieu à Ha Noi. Je leur propose d’exposer une série de tableaux de singes lors de leur évènement. Ils acceptent et c’est là que tout commence ! En août 2014, j’expose pour la première fois à la conférence de la International Primatological Society. Depuis, je participe à leurs expéditions au parc national de Cuc Phuong, situé au sud de Ha Noi, et qui héberge un centre de secours des primates. Car, au-delà du travail technique, il y a un énorme travail de recherche sur l’habitat, la diète et le comportement des animaux lorsque je dois les peindre. Après ce premier pas en 2014, j’ose enfin me présenter en tant qu’artiste, non sans fierté ! Depuis, j’enchaîne les expositions dans le monde entier, lors de congrès scientifiques ou de conférences d’associations luttant pour la conservation des espèces. J’ai à mon actif 13 expositions, la dernière ayant eu lieu à Phuket, en Thaïlande, en 2019, lors de l’International Bat Research Conference, dédiée à la recherche sur les chauves-souris. Puis, comme ce que je produisais ne prenait sens que lors de conférences, je me suis décidé à monter une galerie. Nous l’avons ouverte en janvier 2020, dans l’espace collaboratif Le Petit Musée.  Votre travail de peintre animalier est intimement lié à une démarche pédagogique. Pouvez-vous nous en dire plus? Effectivement, je suis impliqué dans de nombreuses initiatives pédagogiques. Au sein des parcs nationaux avec lesquels je travaille, il existe des centres d’interprétation (ndlr : appellation moderne pour centre du visiteur ou centre éducatif). Je travaille avec eux afin de rendre ces centres plus interactifs et, grâce à mon expérience dans la publicité, je suis impliqué dans toutes les étapes du projet. Mon projet le plus complet est celui du parc de Bidoup Nui Ba, à Da Lat, financé par la société japonaise JICA (ndlr : Agence Japonaise de Coopération Internationale, qui finance aussi la construction du métro à HCMV). Pour ce projet, j’ai été impliqué dès la conception du centre d’interprétation. Ayant aussi la charge de créer le programme et les supports éducatifs, j’ai écrit et dessiné un carnet pour les enfants intitulé « Découvrir la nature avec ton crayon ». Ce carnet est amené en forêt, afin de prendre des notes, faire des dessins et s’amuser avec de petits jeux. J’aime ce type de projets car il engage toutes les disciplines : illustration, écriture, communication, aménagement paysager et de l’espace, et pédagogie. Un autre projet de ce type est à venir au parc national de Cat Tien. A notre échelle, nous faisons aussi de la pédagogie à destination des enfants avec Le Petit Musée, et plus particulièrement avec Nature, Art& Fun. C’est ma femme qui a mis cela en place en 2019, dans notre appartement ! Depuis, nous avons des enseignants, avec qui je mets en place le programme pédagogique. Nous organisons des sorties nature, par exemple dans des réserves naturelles, et avons mis en place des cours de dessins. Tout est connecté ! Par exemple, en ce moment, nous travaillons sur la notion de symétrie, retrouvée partout dans la nature et appliquée dans nos classes.  Votre travail est étroitement lié à la conservation des espèces. Pouvez-vous nous en dire plus sur la situation actuelle au Vietnam? Il existe actuellement 54 parcs nationaux et 80 réserves naturelles au Vietnam. Cela crée plus d’habitat pour la conservation des espèces. Cependant, le sauvetage des animaux en lui-même est un processus qui reste lent. Ce qui est problématique car il faut penser de façon globale. La disparition d’une seule espèce peut amener à la disparition d’un écosystème entier! Je ne peux pas vous faire un état des lieux global en ce qui concerne les chiffres d’apparitions et de disparitions des espèces au Vietnam (ndlr : voir le décret 06/2019 du gouvernement), mais je peux vous donner quelques exemples liés à mon expérience. Par exemple, j’ai collaboré avec l’ONG Wildlife At Risk, fondée en 2006 par Dominic Scriven. Ils luttent notamment contre le trafic animalier, stimulé par le goût de certaines classes sociales fortunées pour des produits uniques. Le Département de protection des forêts au Vietnam a d’ailleurs fait des appels vis-à-vis du grand public afin de dénoncer la vente illégale des animaux sauvages ou produits dérivés. On peut prendre un exemple précis avec la conservation des ours sauvages. Avant 1970, les ours étaient tués afin de récupérer leur bile, utilisée en médecine traditionnelle. Puis, une technique a été développée en Corée, afin de l’extraire sans causer la mort de l’animal. Cependant, cela a amené à une augmentation des ours élevés en cage, et s’est alors posé un problème d’éthique : mauvaises conditions d’élevage, fréquence trop élevée de chirurgie et nombreuses infections. Une ONG a poussé le gouvernement à interdire ce procédé et des puces électroniques ont été implantées afin de lutter contre le braconnage. Mais plus de 90% des ours au Vietnam proviennent de l'élevage et ne peuvent plus être relâchés dans la nature. Heureusement, il y a aussi du positif car de nouvelles découvertes d’espèces sont à noter. En ce qui concerne la flore, une nouvelle espèce de gingembre a été découverte il y a quelques années. Si l’on s’intéresse particulièrement aux primates, cinq espèces endémiques (ndlr : se dit des espèces vivantes au sein d’un territoire bien délimité) sont sur la liste des primates les plus en danger. Pourtant, l’un d’eux, le langur, voit maintenant sa population augmenter. L’autre bonne nouvelle, alors que l’on ne retrouvait plus leur trace depuis les années 60, c’est la redécouverte de l’espèce des gibbons de Cao Vit au Vietnam en 2002, par deux scientifiques de la FFI (Fauna & Flora International).  Pouvez-vous nous donner vos 3 espèces favorites au Vietnam, pour la faune et la flore? Pour la faune, je choisirais les trois suivantes : Saola, qui est un animal dont l’espèce a été découverte grâce à des restes retrouvés dans les années 90. C’est un animal très élusif, qui n’a été vu que quelques fois. Les deux autres sont la panthère nébuleuse et le serpent de vigne. Quant à la flore, je parlerais par famille : les bégonias, les fougères et les mousses. A la fin de cet échange, qui devait durer une heure, le soleil s’était déjà couché et nous avions discuté pendant plus de trois heures. Hoang a conclu en nous offrant de magnifiques cartes postales créées par ses soins et représentant les primates en danger. Enfin, il nous a conseillé de lire « L’humanité en péril » de Fred Vargas, tout en rêvant d’une action collaborative à l’échelle planétaire, qui pourrait changer notre monde.  |
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