Bearing the traces of the natural elements
and debris, Tuazon’s rust paintings in the gallery on 3 Loughborough
Street are selected sections of canvas, each a part of a long drop cloth
that served as Tuazon’s outdoor working surface. They are marked with
the remnants of the metals and tools he used while making sculptures
over a period of weeks, with an indexical immediacy that bears likeness
to a photogram. The ‘accidental’ compositions on the surface of the
canvases are ancillary to the structures made upon them- paintings that
reveal the Freudian slips of a sculpture.
In their production, the canvases were connected to the sculptures by Tuazon’s movement between them- the gestures of a human body that interacted physically and democratically with both media, day after day. A horizontal working plane recalls the history of action painting, while the marks and scuffs of the studio environment have strong relation to the practices of artists who have elevated the work surface of the studio to the gallery environment.
The three sculptures in the gallery on Adam’s Row extend Tuazon's investigation of the ambiguity between work and work surface further, by incorporating studio furniture into the sculptures themselves. The materials and forms of the sculptures' produced elements overlap and mimic the used table- tops, frames and tressels they are interlocked with, confusing where one ends and the other begins.
In their production, the canvases were connected to the sculptures by Tuazon’s movement between them- the gestures of a human body that interacted physically and democratically with both media, day after day. A horizontal working plane recalls the history of action painting, while the marks and scuffs of the studio environment have strong relation to the practices of artists who have elevated the work surface of the studio to the gallery environment.
The three sculptures in the gallery on Adam’s Row extend Tuazon's investigation of the ambiguity between work and work surface further, by incorporating studio furniture into the sculptures themselves. The materials and forms of the sculptures' produced elements overlap and mimic the used table- tops, frames and tressels they are interlocked with, confusing where one ends and the other begins.
Oscar Tuazon Untitled, 2012 rust, engine oil, charcoal, cement on canvas165 x 165 cm
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