During his year of learning at the École des beaux-arts (School of Fine Arts) in Toulouse (1942 – 1948), he made a very lifelike bust of one of his fellow-students and a a bare female foot which already showed a sureness of design and a control of volume.

Later he maked stone sculptures where he seeks in the material and the raw form a face, hands, a body and a shape such as a bas-relief.

In 1973, during the negotiations on the Paris Peace Accord, he asked M. Lê Đức Thọ, the chief negotiator with Henry Kissinger, to bring him back some debris from the B52s so that he could make painted sculptures, heads of horses, human profiles, hands, birds, symbols of peace.

in 1980, the death of his son deeply affected him and left him in a deep crisis. He created a grave of stainless steel whose surface reflects the surrounding nature, the trees and the sky. A mobile displaying the Yin and Yang symbol moves with the wind and flutes allow the air to pass through it. On the surface of the grave the artist has sculptured scenes from daily life. The grave is to be found at the Cimetière du Montparnasse (Montparnasse Cemetery) in Paris.

From the 1980s, he released representing figures, the couple or the family (the father, the mother and the child). The sculptures have little depth and are performed in direct cut technique with hollows, holes and borings, full and void. They resemble paper cut outs, but in three dimensions. They are not meant to represent human anatomy or shape. They are silhouettes.

In 1984, in the studios of Circle Fine Art in Arizona he started creating his artist’s jewels, which he named Art to Wear, golden pieces of jewellery with pearls and precious stones that prefigure, in miniature, the Espaces (Spaces).

In 2006, during his stay in Huế, he created several sculptures representing Buddhas and figures made from wood from Viêt Nam and stainless steel. The empty spaces and the holes correspond to hollow figures. Certain sculptures are steles of figures engraved and sculpted as bas reliefs.

The same year, Lebadang practised the art of paper-cutting, between void and full, which allows light to shine through like a shadow theatre. He illustrated a song-legend of the Hmong people, L’aimée de la rivière noire (The Beloved One of the Black River), published by the Editions Alternatives and translated by Mireille Gansel. The illustrations consist of people and animals cut from paper that reproduces patterns of Hmong textiles and represents scenes of daily life in the mountains of the north of Viêt Nam.