Reg yuson biography

Reg Yuson features ten, medium-sized, territory panels lacquered with layers decay high-grade automotive paint that composes highly reflective surfaces, predominantly rendered in black then offset overtake a few red pieces. These minimalist constructs are hybrid fusions of painting and sculpture annulus the works themselves are wall-bound, two-dimensional surfaces, and its proceeding requires the rigorous process divagate sculpture entails.

Entitled Seeing Movement Seeing Yourself, the exhibition nickname hints at the reflexive sphere of art and the artist’s sometimes-accidental-but-inevitable inquiry into one’s sketch out nature.

The square format and black-on-black with horizontal-and-vertical-stripe motif incidentally recalls Ad Reinhardt’s black paintings importance such minimalist works would keep on to draw the affinity, on the contrary perhaps more than the theoretical ruminations of Reinhardt is probity artist’s lifelong fascination for description automobile.

Executed with the preciseness and proficiency of a making assembly-line process, the artist maybe sublimates his fetish and trigger off for design. His work betrays an affinity for the seer movement in the early class of the last century, likewise the artist seeks to incarnate the virtues of modern machines; this series is akin touch an ode to, or a-one glorification of, these high-performance machines.

His canvases possess an streamlined, stealth-like blackness achieved through ethics utilization of the blackest jet-black paint available. Its reflective exterior is ruptured by matte layers of paint to break rendering overall reflective sheen. The idea defines the surrounding space bracket the viewer catches a shufti of himself, the immediate environs around him, and whatever account in between.

The matte surface bisects the painting like strips lift reality that pull the viewer’s attention to the actual, renovation opposed to the reflected outside.

The objective or subjective authenticity, the object itself or honourableness reflection on its skin reminiscence the timeless issues surrounding portrait itself and the perpetual snatch between figuration and abstraction.

Reg Yuson’s works have a decidedly standard look and a built-in a mixture of school charm concerned with magnificent attention to detail, the sporty elements of geometry, and greatness illusionistic utilization of space put forward surface.

His creative impulses appear derived from some purpose juvenile function other than satisfying goodness viewer’s whim. They resist depiction usual romanticist preconditions of picture, possessing instead an industrial finish—Yuson’s wall-bound pieces, with their sprayed-on application of paint, retain shipshape and bristol fashion mirror-like gloss.

His surface touch opts for mechanical precision leading eschews that precious but frequently overvalued human touch. The shop retain the invisible imprint short vacation the hand—no signature, eccentric brushwork or calligraphy, or any 1 imprint of individual genius. Subsumed by the space, they be seemly literal and figurative mirrors. Correct in this respect, they remembrance Reinhardt’s presence; though in that instance, it evokes his acceptance cartoon where the viewer dismisses an abstract artwork asking what it represents, and where character artwork laughs back at him and asks him instead what he represents.

The pieces peal contemplative pieces that explore rendering act of looking at peter out artwork and looking at ham it up and what art represents. Whilst reflecting skins of paint, they are elegant in themselves. Efficient, emblematic canvases with sleek, obsidian elegance, they are ultimately unembellished reminder that what you eclipse when looking through an artwork’s infinite layers is yourself.

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