Fintan Boyle and Jennie Nichols
Charles Yuen’s studio time is a friendly civil war between old comrades of the painter’s trade, figuration and abstraction. Sometimes –often– for Yuen to abstract is to decapitate. Minus head the former figure terminates in a swirling of color. Or, other way around, the head, minus figure, swirls in a field of sine waves emanating from beyond the canvas and wobbling left to right, right to left across its surface. These latter are a frequently used sign of Yuen’s, to let us know that the rendered figures, plus his own thematic interests and musings, will be kidnapped by some narrative of science or science fiction. The sine waves themselves are merely one member of a vocabulary of images on loan from astronomy, zoology, geology, anthropology and psychology or from the fictional siblings of any of those disciplines.