Mycelial Substrate, 2022, oil on canvas, 48 x 40 inches
Reading List, 2021, oil on canvas, 48 x 40 inches
Phantom Landscape, 2022, oil on canvas, 48 x 40 inches
Double Bird Vision, 2014, oil and collage on canvas, 40 x 48 inches
Hive, 2014, oil on canvas, 66 x 54 inches
Miles From Nowhere, 2021, oil on canvas, 48 x 40 inches
Mesozoic Librarians, 2022, oil on canvas, 54 x 66 inches
Grateful Dead, 2021, oil on canvas, 40 x 48 inches
Humans Pretending to be Trees, 2022, oil on canvas, 40 x 48 inches
On the Road, 2009, oil on canvas, 36 x 28 inches
Back and Forth, 2022, oil on panel, 9 x 12 inches
Hopes and Dreams, 2022, oil on panel, 9 x 12 inches
Woodland Ectoplasm, 2022, oil on panel, 9 x 12 inches
Three Trees, 2022, oil on panel, 9 x 12 inches
Tree X-Ray, 2022, oil on panel, 12 x 9 inches
Imitating the Cosmos, 2022, oil on panel, 9 x 12 inches
Water Falling, 2022, oil on panel, 12 x 9 inches
Things That Fly, 2022, oil on panel, 9 x 12 inches
Strolling, 2022, oil on panel, 12 x 9 inches
RGB, 2022, oil on panel, 9 x 12 inches
Ladder Hands, 2022, oil on panel, 12 x 9 inches
Up and Down, 2022, oil on panel, 12 x 9 inches
Infused with hope and loss, Charles Yuen’s paintings report on the weathered conditions of our humanness. Rich in metaphor and allusion Yuen’s restless eye belies a stillness grounded in compassion.
As John Yau writes, “Relying on an ever-expanding vocabulary culled from a wide range of sources, including Asian art, Persian miniatures, ornithology, cartoons, scientific diagrams, Op Art, and outsider art, Yuen assembles what I have come to think of as visual ideograms, complex possibilities whose ambiguous meanings reverberate” (Hyperallergic, 2020).
This is Charles Yuen’s second solo show with Pamela Salisbury Gallery. His extensive exhibition history includes The Brooklyn Museum of Art; Elizabeth Harris Gallery; The Asian American Arts Center; Artists Space; The Newark Museum, The New Museum, among others. He is the recipient of a John Simon Guggenheim Memorial Foundation, Fellow, 2018; the Adolf and Esther Gottlieb Foundation, 2011; and the Joan Mitchell Foundation, 2006. Reviews have appeared in The New York Times, Art Critical, Art in America, The Brooklyn Rail, Hyperallergic, and numerous other publications.