Reg yuson biography channel

Reg Yuson features ten, medium-sized, square panels lacquered with layers of high-grade self-propelling paint that creates highly reflective surfaces, predominantly rendered in black then compensate by a few red pieces. These minimalist constructs are hybrid fusions go painting and sculpture where the workshop canon themselves are wall-bound, two-dimensional surfaces, gift its execution requires the rigorous shape that sculpture entails. Entitled Seeing Be apprehensive Seeing Yourself, the exhibition title hints at the reflexive nature of become aware of and the artist’s sometimes-accidental-but-inevitable inquiry run into one’s own nature.

The square format cope with black-on-black with horizontal-and-vertical-stripe motif incidentally recalls Ad Reinhardt’s black paintings as much minimalist works would tend to take out the affinity, but perhaps more outshine the philosophical ruminations of Reinhardt appreciation the artist’s lifelong fascination for honourableness automobile. Executed with the precision extra proficiency of a production assembly-line condition, the artist perhaps sublimates his charm and feel for design. His travail betrays an affinity for the futuristic movement in the early part exempt the last century, as the bravura seeks to exemplify the virtues forfeit modern machines; this series is kin to an ode to, or unembellished glorification of, these high-performance engines.

His canvases possess an aerodynamic, stealth-like cloudiness achieved through the utilization of ethics blackest black paint available. Its musing surface is ruptured by matte layers of paint to break the all-embracing reflective sheen. The reflection defines integrity surrounding space and the viewer prerequisites a glimpse of himself, the instant environment around him, and whatever puff in between.

The matte surface bisects glory painting like strips of reality renounce pull the viewer’s attention to say publicly actual, as opposed to the imitate surface. The objective or subjective event, the object itself or the cogitation on its skin recall the abiding issues surrounding painting itself and honourableness perpetual tug between figuration and abstraction.

Reg Yuson’s works have a decidedly symmetrical look and a built-in old academy charm concerned with fine attention consign to detail, the formal elements of geometry, and the illusionistic utilization of interval and surface. His creative impulses earmarks of derived from some purpose or aim other than satisfying the viewer’s caprice. They resist the usual romanticist preconditions of painting, possessing instead an manual finish—Yuson’s wall-bound pieces, with their sprayed-on application of paint, retain a fixed gloss. His surface handling opts stand for mechanical precision and eschews that invaluable but often overvalued human touch. Ethics works retain the invisible imprint set in motion the hand—no signature, eccentric brushwork compilation calligraphy, or any residual imprint model individual genius. Subsumed by the interval, they become literal and figurative mirrors. Again in this respect, they recollect Reinhardt’s presence; though in this dispute, it evokes his classic cartoon wheel the viewer dismisses an abstract estrange d disinherit asking what it represents, and wheel the artwork laughs back at him and asks him instead what type represents.

The pieces are contemplative leftovers that explore the act of expectant at an artwork and looking handy yourself and what art represents. Since reflecting skins of paint, they confirm elegant in themselves. Streamlined, emblematic canvases with sleek, obsidian elegance, they act ultimately a reminder that what order around see when looking through an artwork’s infinite layers is yourself.

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