ANTUAN’s  new proposal is  consonant with  his firm ecological, social and humanitarian discourse of over two decades, one  which his artwork steadily addresses, though a powerful play with the object and the human body.

ANTUAN maintains his use of readymade.  He fuses painting and sculpture—he paints, within contextual reference, achieving subtlety with the use of textile color and texture.  Monochromatic fabric hides his subject matter. Stretching   and adjusting the material, the artist profiles the volume of the forms. He insinuates the object with the malleability of the material, complemented, at times, with minimalist repetition.

Up to date on the oil dashboard, black parachute silk curtains float six barrels, in a crude theater ensemble, OIL THEATER. UPDATE’s planetary symbolism  algaeifies an iron cross on life-support.  CONCOMERSE  hungers  for  power.

MAKAIRA, blue marlin in blue elastane, censures the decimation of ocean species by long liners and the cruelty of sportsfishing.  While TRAFFIC, twelve ivory tusks in cashmere pockets, slips conradian commentary  by  way  of  a  white  hunters’  legacy  metaphor, RED TRAFFIC —homage to the innocent, the disappeared, and the pirated bodies for organ traffic– exposes the predator.

Denouncing   contamination, light boxes made of stainless  steel pipes  fastened  with  adjustable  tamper  screws,  project BARE SKY:  a cloned cloud photographic installation. CAST is the photographic image of the human mold cloned by imposed society and media standards.   UNIVERSAL HEALTHCARE–crutches set in green scrubs pockets–criticizes a limping healthcare system. In IRON CLAD, ANTUAN oxidizes linen stiff of decades of sepoy powerdressing: a rusty, layered repetitive run of the  guayabera  traditional peasant shirt.    PERAN TANATOS  plays eternal on a warm coffin’s cushion.

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