‘Old man’ Wowy – one of the four powerful judges of the famous Rap Viet liveshow has just held a painting exhibition titled ‘End of the End of the Dream’. In particular, in the exhibition there are paintings that Wowy extracted his own blood to create.
Wowy is not only a famous rapper, has a great voice and influence on the Hip-Hop and Rap enthusiast community in Vietnam, but for a long time, Wowy is also a passionate artist of graffiti art. From an early age, Wowy showed off his talent in street painting and was highly appreciated by the Graffiti world. It is that passion that inspired Wowy to release the song HIT Where I live is known by Rap enthusiasts and made a name for the “elder” in the Rap community in Vietnam. 
Visitors to Wow’s exhibition From April 27th, Wowy and his friend Tuan Andrew Nguyen opened the exhibition “End of the End Dream” in Ho Chi Minh City, with the hypothetical message that if the world is only you or you are What is it like to be death close by? Wowy gave a picture explanation. In particular, in the paintings at the exhibition, there are pictures shown through the poetic drawing by Wowy extracting blood from his own body to make ink on tissue paper. In the poem there is a written statement: “One prayerful earth for my father and my mother – I pray to God to make the Buddha safe for my brothers and sisters …” “This is my request- I just want to ask people to listen. .. Wowy said: “Wowy was a person who didn’t know how to show his love to people. When I realized I was growing up, Wowy had to learn how to show his love more by himself and spread this love as much as possible to the society, people, worldview around Wowy I know how to cherish and love more So I wrote, I wonder if it can be called poetry or not? ” 
Painting is represented by Wowy in blood In addition, at the exhibition, through the pictures, viewers can also see the true generosity, expression and bohemian nature of Rap’s souls. 
Wowy took pictures with critic Ly Doi Let’s take a look at some pictures at the exhibition made by critic Ly Doi: 
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