Vietnam-born New Yorker Trong Gia Nguyen has a
history of making artwork that activates an unusually high level
of criticality. In The Diabolical, he has mobilised the
cultural authority of not only the art object but the very wall
it hangs on to impose upon the viewer an authoritarian quantification
of his/her physical presence.
These impasto works, which are always painted the
same colour as the walls they occupy, reproduce the height charts
used in police stations and retail spaces. Sized up under the paintings'
watchful scrutiny, the viewer is rendered subject and suspect: peeps