Khan Nguyen's abstract work has the Nortern Light as a Leitmotiv.

Result #1

Yet his work is far less organic than that of Kahn's, and its more the result of his consideration of materials and the way they interact with each other than it is an expression of protest against modernism. Nguyen has always been concerned with the natural world, and he explores the relationship of the human body to nature. In the past he has used a human body as a model for sculptural forms, and he uses the human body as a means of representing the duality of being and being represented. He does this with great sensitivity to the relationship between the body and the landscape, between the human and the natural. His works are most effective when they are subtle, when they are not so obvious, when they are not so overwhelming. They are neither overwhelming nor obvious.They are not so much the result of a personal attack on modernism as they are the result of a philosophical reflection on the relationship between the body and the landscape. The body as landscape is a subject that can be approached as a series of possibilities, an open text that can be addressed, a body that can be experienced as a series of possibilities. This is what Nguyen does in his abstracted landscapes. He makes the body a part of the landscape, as if to say that the body is also a potential site of artistic expression, that it is also a potential object, a part of the natural world. This is why the abstract landscapes have the strength of character and the clarity of purpose of the human body. In other words, they are more than just a means of expressing abstract ideas. They are a way of articulating a philosophical attitude that is itself a philosophical attitude. They are an expression of a philosophical attitude that is also a philosophical attitude. In other words, they are as good as anything that can be found in a gallery.

Result #2

Khan Nguyen's abstract work has the Nortern Light as a Leitmotiv. In the series of paintings, which were on display at the Whitney, she uses the same bright, white, tesserae-like motifs as in her earlier work, but she now paints in a more controlled manner, with a more determined painterly technique. She also uses the same neutral palette as before, but now she moves away from the monochrome and uses a more complex range of colors, from the bright white of the previous paintings to the pale blues and greenish-gray grays. She paints the ground with a rough, almost rough, texture of plaster, and her brushstrokes are less defined, with a more flowing, indirect touch. In the end, the color seems to vibrate, and the works seem to have a beautiful presence, as if they were made by a combination of painter and airbrush. Their allusion to the abstract aesthetic of Abstract Expressionism is obvious, but their substance is more personal. The paintings seem to have been made with great care and sensitivity to detail, and their color is rich and complex, but not overbearing. The materials are not overwhelming, but they are not exotic either. They are used to good effect, and they have a certain elegance, a delicate and complete clarity.They are also more refined and lyrical than the earlier paintings, but they have a more direct and intuitive quality. The newer paintings are all over-painted, with a coat of plaster mixed with acrylic, and a second coat of plaster. In some cases, the plaster is barely visible, in other areas it is so finely rendered as to be almost illegible. In the end, the paint is applied to the surface with a light touch that is almost painterly. But it isnt; it is an airbrush, a brush that is used to apply paint. It is a paintbrush that is used to create a surface that is not a surface, but rather a space.

Result #3

Khan Nguyen's abstract work has the Nortern Light as a Leitmotiv. (I have seen this on the streets of Bangkok, in the museums of the Smithsonian and the National Gallery of Art, and in the museums of the Central Asian Republic, where the work has been widely seen.) The illumination is not bright, but rather muted and the color is an endless and largely gray-green. The color is not bright enough to be an illumination, however; instead, it is a shade of gray that, in the absence of a light source, becomes a shadow. In this light, the object, the person, and the space that they inhabit are made ambiguous. The color of the wall and the color of the ceiling are neither bright enough to be an illumination nor sufficiently bright to be a shadow.The art is not really about the illumination, but rather about the shadow. It is not about illumination but illumination. This is an important distinction. The shadow is a kind of illumination, the shadows are not. The shadows of the objects are not illumination; they are shadows of the objects, but they are not illusions. The shadow is not only a kind of illumination, it is also an illumination that the object is seeing. The shadow is not only a kind of shadow but also a shadow that the object is seeing. The shadow is not only a shadow but also a shadow that the object is seeing. The shadow is not only a shadow but also a shadow that the object is seeing. The shadow is not only a shadow but also a shadow that the object is seeing. The shadow is not only a shadow but also a shadow that the object is seeing.The shadow is a shadow that the object is seeing, and the object is not. The object is not a shadow, nor is it a shadow. The object is not a shadow, nor is it a shadow. The object is not a shadow. The shadow is not only a shadow but also a shadow that the object is seeing.

Result #4

Khan Nguyen's abstract work has the Nortern Light as a Leitmotiv. The new work's surface seems to be made of transparent plastic, and the eye can only sense the expansiveness of the material. The pieces are based on a drawing of the same figure, but Nguyen's version is distorted to resemble the final image. The distorted figure becomes a surrogate for the original. The work is also based on a drawing of a human figure, but one that has been transcribed into a series of small rectangles of a different color. The rectangles have been rendered in acrylic, and the color has been added to the acrylics, leaving a residue of color that becomes a kind of residue on the canvas. The result is a collage, a collection of fragments, a kind of personal sketch of a figure.The sculpture that was also shown, and one of the most striking pieces, is the transparent aluminum construction of a small figure. It is filled with various materials, including plaster, wax, sand, and concrete. The figure's lower half is covered with a kind of skinlike material, and the top half is covered with a skinlike material. The sculpture is actually an extremely light, almost plastic, material. The thin, thin skinlike parts are covered with layers of plaster. The translucent plaster is then covered with sand, and finally covered with concrete. The result is a kind of skinless, sculptural figure, which is at the same time an impression of the original figure and a reconstruction of it.The show's title, The Nature of the Painting, is taken from a passage in Guston's The Painters Preface to the New York Times (1938). It refers to an essay written by the French critic and essayist Gertrude Stein about the need for artists to stop painting as pure image. It also refers to an essay by the English painter Peter Truitt, which Truitt wrote about the need for a greater variety of images.

Result #5

Khan Nguyen's abstract work has the Nortern Light as a Leitmotiv. The work's aura is more than just a personal reference to the artist's childhood, however; it also evokes a sense of longing, of longing to be an old soul. In this show, we also saw a new painting, Untitled (In the midst of the storm), 2009, in which a small, red-haired figure stands before a very tall, red-haired one, holding a black-and-white banner. The two figures are clearly in love, as is clear from the text that accompanies the work, which is written in Vietnamese, and entitled No to be silent. In the midst of the storm, the man is holding the banner, which is also red, and the two have sex. The painting suggests that the relationship between the two is one of submission, a mutual looking that is both passionate and inescapable.In another painting, the words Aide de la mort, 2009, were painted on a small white canvas. These are the words that appear in the titles of the paintings, and they are used to describe the artists relationship with her husband, a Korean businessman. The couple's relationship is described by the title as a double relationship, and the two are described as the husband's side of the marriage and the wife's side of the marriage. The painting is titled, What if I said yes?, and the two men are each entitled to one percent of each other's profits. Aide de la mort implies that if the man were to say yes, the two would be free. In this painting, we see the contradiction between the desire of the man to marry his wife and the desire of the woman to marry him.The work's title also hints at the impossibility of the couple's union. Aide de la mort is a painting that can only be a painting, and in this sense it seems to be a reflection on the impossibility of the marriage.