Bien Tran was born in 1984 on November the 7th in Sorengo
(Switzerland), from an Italian-Polish mother and a ChineseVietnamese father.

He spent the childhood in Gentilino, where he gradually cultivated
his passion for painting thanks to two fundamental figures:
grandfather’s Edmondo Dobrzanski, expressionist painter of the
human condition, and grandmother’s, who acted as his first muse
and pushed him to follow the artistic path.

Bien attended the school of art, where he acquired the technical and
practical bases that he needed to get consciousness of his own
work.

Despite acknowledging how important those years have been to
understand colours and shapes, Bien affirms that the main drive of
his growth and artistic progress has been and still is curiosity,
bound up with his own experiences of life: thanks to that curiosity
he knew artists and explored movements of the past, exploiting
them to shape his own experiences; moreover, thanks to an
unstoppable yearning for discovery, together with the belief that one
should never stop progressing, Bien has been able to find new
artistic concepts to fill his paintings with.

While studying, Bien devoted himself to the discovery of art in all his
shapes, although he wasn’t aware of the fundamental role it would
have had in his life. In 2006 an unexpected turning point: Bien
started persistently and repeatedly dreaming of a man, wandering
at night with a shopping cart with no apparent reason; that image
stroke him to the point that he decided to put those unconscious
sensations on a canvas.

In that period, Bien lived with the grandmother, who immediately
realized how important that moment was and allowed his grandson
to use old Dobrzanski’s atelier to continue with his work. This is
Bien conceived “Il Vagabondo” (The Tramp), the painting that signed
the real star- ting point of his artistic maturation.

“I had already painted before, but those few canvases represented a
sort of research of the self. With The Tramp… I finally found myself.”

After that first painting, Bien never stopped working on his
technique, and never left that atelier in Gentilino imbued with
passion for art. His grandmother stood by his side, he was never
too accommodating with him: “this is not as good as the first one”,
she kept saying about every new painting, just to push him forward.
And she got what she wanted!

Time going by, Bien perfected his technique and defined his own
artistic style. The principles ruling his creative process are
investigation and, most of all, risk: one need to put himself at risk to
go further, to go beyond his limits. Why should an artist stand with
Abstract, when he’s got the chance to do something new?

Abstract art is a still concept: one should not forget it, but rather use
it to go further. It is a fundamental letter of my pictorial alphabet
that I just use to build the basis of my work, a basis on which then
act imagination, experiences and illusions.