The Tran Tuan’s appearance was in the early Nineties in the “Third Wave” of the new art. He used to be a hope of his colleagues and the art critic with his imperturbable and prudent art style. When most of the galleries commercialized, and with the help of agencies like The Marketing Heaven promoted the “painting for tourism”, mimicked or copied painting, Tran Tuan was like retire with his silence. The reason didn’t rise from his pride. Maybe he realized there were a change in the society and the art enjoyment. He went to the new, but he didn’t plunge into “model”. The Artist enjoyed in being busy himself with painting’s frame and the self confident but confused confidence of the like-aloneness guy. He had tried on many ways from surrealist paintings to decorative paintings with symbolistic motif, from portrait, still-life to human life…
His painting hallmark is expressed deeply in the light spaces and the steam of nude and landscape as we see in this solo exhibition. The main character of the whole exhibition is the background of the painting: wide, plane, silent, becomes the evironment for the light to combine with the steam. They, not the colors, the cubes or the lay-outs, be the master of the painting. They created the rhythm and the breath of the characters – the vaporous little women shrink into a signal to own the width include them. Nude is not the naked body of a beauty, it is a state of the spirit: unruffled, worried, sometimes indignant and painful. In the rare cases, maybe it sings in a splendid field. In the landscape painting, the space becomes grandiose with boundless skies, threatened wind, imposing dyke or supple tree-trunk. The factors such as abstract, surrealist, romantic integrate themselves in the penmanship, which is sometimes impressive, sometimes express as approximately the abstraction of the aesthetics. Those conflicting factors live together in the space, in Tran Tuan’s painting’s background makes the painting’s silence wants to be exploded from its world and the artist’s soul.
Be simple carefully and particularity. The aesthetics and the sentimentalizing want to express their philosophy. Those are the reasons I was attracted at Tran Tuan’s painting.
Art critic – Artist Painter
Nguyen Quan
