Glenn Aber Showcases Contemporary Vietnamese Art in Home Gallery

The eyes of the young girl in the painting tell a story.  She has a weathered face that yearns to know more.  She cannot be more than six or seven, however, her expression makes her look older than her years.  She has a powerful story to share if given the chance.

Glenn Aber appears in his Rye living room, his personality immediately warm and welcoming; followed by his gallery director, Eva Fedderly. Aber has developed an intense love and fascination for Vietnamese Contemporary Art, featuring works from approximately 30 artists.

AiBo Fine Asian Art, his gallery for the past six years, is an atmosphere in which his guests and clients feel at home.

When it comes to purchasing the paintings, Aber goes with his gut.  He is also a man of emotion. These two attributes enable him to continue acquiring eclectic art. He carefully adjusts a painting so that it is hanging straight; demonstrating his passion for the artwork that has found a home on his walls.

Relaxing, Aber sinks into the pillows on the couch. He shares that the experience of reading an article in the New York Times titled “The Awakening of Hanoi,” propelled him to visit Vietnam and purchase 15 paintings.  

“That’s basically how it started. And I was reading the article because of the impact that Vietnam and the war and the whole time period had on my life.” Aber is adamant that the Vietnamese people today do not harbor any ill will toward Americans; this attitude has elicited from him his love for them. “…this is a part of the attraction that I have to the art because it’s the people that I really have fallen in love with…”          

A dichotomy exists between contemporary and traditional artwork that is native to Vietnam, according to Aber. The younger artists appreciate the art that is representative of their ancestors; their art reflecting a drastic evolution. 

In 1986, the Vietnamese government legalized foreign trade and private ownership, which allowed freedom of expression from various artists through an assortment of mediums.

The vigor with which Aber moves from one painting to the next is contagious.  He is truly at home.

“You could spend hours down here and always see something different," he said. "I come down here and just hang out sometimes.”

It is slightly cool in the gallery; preserving the artwork is crucial; improper maintenance can cause warping.

Rock Group, is host to warm colors that convey the music and liveliness of that atmosphere. Under the Bridge by Pham Binh Chuong, resembles a photograph; you have to look twice to distinguish the faint brushstrokes. 

Ding Y Nhi’s Security Checked, is fierce and raw.

The beautifully bright colors used in Mid Day in Hanoi by Duong Viet Nam root the viewer in their spot. 

Along with Aber’s insatiable love for Vietnamese artwork is an immense zeal for giving back to his surrounding communities. He serves on a nursing home’s board in New Rochelle and supports and revitalizes abused foster children from Cambodia.  

Aber believes that it is important to give of one’s time through service.  He and his wife Francine helped cultivate the health of a young girl from Cambodia.

“She really was a precious, exceptional little kid.  She had a determination, and a spirit…a positive approach to life," Aber described. "It gave me something that nothing else had ever given me.”

As “AiBo” means Aber in Mandarin, perhaps it is symbolic of a man who not only has a strong ability to follow his instinct but also of a man who is invested in the individual stories of the Vietnamese people.

Aber concludes,“Each and every painting has a memory, a story, an emotion attached to it. I love having it here.”