Drawing inspiration from the philosophical writings of Martin Heidegger and Friedrich Nietzsche, the vibrant works of Tèo Phạm leave a strong impression on viewers with the concept of "excretion". In his practice, he deliberately does not interfere much in terms of content and techniques, while calling his creative process a spiritual excrement - a grand excrement, implying a periodicity in what the mind and the spirit absorb and subsequently generate, the cycle of cause and effect.

At first glance, the space of "What’s left behind the Rectum? - Chapter 2: The Great Excretion" appears to be a sacred creed: forty-two artworks composed between 2021 and 2023 since the pandemic are placed side by side. In the corners of the room are four models - Heaven, Earth, God, and Human. Chamber of Confessions, a totem pole and a re-enactment of the medieval torture device known as iron maiden, stands in the center. The audience is invited to be a part of this spiritual excrement, all the while having to crawl, roll, and crouch to experience the five models.

Viewing his artworks as a way to record his emotions, Tèo Phạm aims to resist the cycle of consumption, be it in the realm of creativity or in a modern life saturated with information. As one unconsciously "digests" not only more but also faster, the appreciation of art risks staying on the surface. In an effort to distance himself from these vortexes, Tèo chooses to slow down, to perceive his spirit and the spirit of all things more clearly. 

Tèo Phạm (1996), whose real name is Pham Van Vu, was born in Lien Nghia (Lam Dong province). He later moved to Da Lat with his family. Teo graduated from Ho Chi Minh City University of Fine Arts in 2020. Originally a satirical cartoonist, Tèo Phạm can play with any subject in a lighthearted way. The sacred is thus juxtaposed with the mundane; references to ancient beliefs are intertwined with wit and creativity; and the somewhat challenging lines blend with an appreciation of the unnoticed.

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