The previous works in the trilogy, Tropical Siesta (2017) and Mute Grain (2019), explored periods of ideological, economic, and agricultural strife in Vietnam, addressing subjects like the country’s 1945 famine in dreamy, enveloping videos and paintings.

In tandem with political and social issues, much of the pace and sequence of STOP evokes narrative associations. At a consistent tempo, the artist brings viewers in and out of cinematic standards, as tonal shifts or narrative developments that are the result of the semi-random compositional framework point toward something more intentional