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| Trong Gia
Nguyen 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 is perps. |
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