"It feels as though the dance artform is a massive puzzle that can never be solved. I am excited by the idea that every time I approach dance, I am further challenged and stimulated by the unexpected."

"In a world where it feels like injustice and oppression repeats itself in different guises with every news story and social media post, Graffiti Bodies XV reminds us that amongst the multiple layers of shittery, there are always layers upon layers of hope, justice and community to look for as well."

"Exquisite Noise is less about storytelling than about collective awakening. What emerges is an onto-epistemological choreography: a sensorial experience of bodies, lights, and sounds that redefines the essence of noise as a political gesture and a deeply human ritual."

"Van Huynh’s interest in the power, freedom, strength and solidarity of protest and its ability to allow people to find their political voice, resonates with the terrifying present when democracy across the world is under threat and people’s rights and liberties are gradually being eroded."

"Van Huynh manages something quite rare here: turning very real, visceral anger into a thing of beauty. It’s a political, sweaty mess, and utterly human."

★★★ "One saw an active body in peril, one of resistance and community, and all of this represents the power of dissent when used for a valuable cause."

★★★½ "Visually and kinetically, Exquisite Noise is astonishing. The minimalist staging and strong lighting create a sense of exposure, of risk. There’s nowhere to hide."

"British Afro-Caribbean singer-dancer Elaine Mitchener doesn’t dance to the music but as it: a possession, an Eastman."

"In reality Dam van Huynh in collaboration with Tommaso Petrolo create a disquieting work of dance/theatre of epic proportions. An extraordinary feat of physical intensity that borders on the operatic."

★★★ "We’re seeing the confusion and exhaustion of exile, voices drowned out, the disquiet of finding yourself, unwanted, in a new land."