Le Thiet Cuong, Untitled, 1995
Oil on cheesecloth laid on board
45 x 71.5 cm, 73 x 100 x 2.5 cm (framed)
Condition: Very good
-
We acquired this work from Cuong’s (Vietnamese, b. 1962) exhibition at The Raffles Hotel in Singapore.
His work holds meanings deeper than the surface simplicity of his art, the latter arresting in itself. In this painting, we sense a delicate tension created by the imbalance of power between the workers, the land owner and the oxen. Perhaps the land owner is picturing himself getting married after a good harvest and so drives the workers hard (bowed down with labour) and makes the oxen angry.
This is our own interpretation but that is the beauty of Cuong’s paintings - its ability to draw out many inferences.
(Photographed in June 2024)
Oil on cheesecloth laid on board
45 x 71.5 cm, 73 x 100 x 2.5 cm (framed)
Condition: Very good
-
We acquired this work from Cuong’s (Vietnamese, b. 1962) exhibition at The Raffles Hotel in Singapore.
His work holds meanings deeper than the surface simplicity of his art, the latter arresting in itself. In this painting, we sense a delicate tension created by the imbalance of power between the workers, the land owner and the oxen. Perhaps the land owner is picturing himself getting married after a good harvest and so drives the workers hard (bowed down with labour) and makes the oxen angry.
This is our own interpretation but that is the beauty of Cuong’s paintings - its ability to draw out many inferences.
(Photographed in June 2024)
Oil on cheesecloth laid on board
45 x 71.5 cm, 73 x 100 x 2.5 cm (framed)
Condition: Very good
-
We acquired this work from Cuong’s (Vietnamese, b. 1962) exhibition at The Raffles Hotel in Singapore.
His work holds meanings deeper than the surface simplicity of his art, the latter arresting in itself. In this painting, we sense a delicate tension created by the imbalance of power between the workers, the land owner and the oxen. Perhaps the land owner is picturing himself getting married after a good harvest and so drives the workers hard (bowed down with labour) and makes the oxen angry.
This is our own interpretation but that is the beauty of Cuong’s paintings - its ability to draw out many inferences.
(Photographed in June 2024)