Indochine Wall Art of Saigon and Hoi An

Indochine wall art shows Saigon palace lawns, a cream colonial tower, mustard yellow walls in Hoi An and a villa lane in Da Lat, with tiled roofs, ao dai and conical hats in the scenes. Each image comes either brushed in oil by a painter's hand or run off as an archival canvas print.

Saigon lawns, fountains and cream facades

Saigon is the subject most of these paintings share. In one view a tall white fountain stands in a round pool on the lawn, and beyond the iron gates a tree-lined street runs off with traffic and red banners in soft morning light. In another, a grey road leads straight to the entrance of a pale palace with a red flag, while orange tree crowns crowd in on both sides. The quietest of the Saigon scenes rises as a cream tower under a terracotta roof, pierced by a single arched window, with a low arcade at its side, a pale plaza in front and a wide, empty grey-blue sky above. The palace and tower scenes overlap with French Colonial.

Mustard walls, wet lanes and a river in Hoi An

Yellow is the colour that recurs in the Hoi An and facade paintings. One narrow lane runs between mustard yellow walls over blue paving that shines wet, a small figure in a conical hat walking toward the far end. In a river view, a wooden boat rests on still water under a worn mustard yellow wall with a dark door, and golden reflections spread across the water. A further painting gives a worn plaster wall with teal wooden shutters and an arched window, magenta pink blossom hanging into the sunlight. These pieces overlap with Yellow, and the mustard sits well on a pale wall or beside dark wood.

Calm tower or mustard lane: picking a wall

For a quiet wall, the cream tower under its grey-blue sky is the piece to look at first; it sits well on white or pale grey. The mustard lane and the river boat carry more colour, and they sit well on an off-white wall, where the yellow and the blue paving stand out. The green lawns of the palace paintings go with neutral walls around them.