Continuing the series of this year's Seattle Erotic Art Fesival's guest curator artists invited by Chris Crites, Troy Gua talks about his work.
Prince introduced me to eroticism at an early age, feeding my adolescent dirty mind. His entire aesthetic of the 1980s dripped with ambiguous sexuality, and as a horny kid from the suburbs, I was utterly mesmerized. He painted a picture of sex as a Utopian destination, a place free of shame and full of possibility. A place where anything goes. A place I wanted to be. And he did it with an irresistible wink and a nod, swaggering through mainstream culture with full frontal innuendo. He brought his own brand of come one, come all sexuality to the masses and invited everyone to get on his purple bus. I got on, and I'm still riding.
For the 2010 Seattle Erotic Art Festival, I made work using my preferred materials of resins and plastics to embody the equivocal libido that attracted me to the early work of Prince. A painting titled after his 1980 song and album "Dirty Mind" employs a study of positive/negative space, fleshy tones and evocative shapes, while a sculpture entitled "Soft and Wet", after his first single of the same name, utilizes supple textures intermingled with reflective, rigid surfaces. They're designed with an abstract minimalist approach as an ambiguous stylization of impending penetration - for example, in the painting the shapes could be various parts of the body or nothing at all but shapes. The idea is to allow the viewer's mind to decide what they want it to be, and get dirty, if that's the case. Both pieces employ a suggestive stylization allowing the viewer to imbue the work with as much or as little eroticism as it subjectively elicits.
This work is designed to reflect, through my hands, Prince's enigmatic world of lusty freedom and potential. And it is designed to be ambivalently erotic. It's for you and your own dirty mind to decide.
Troy Gua Dirty Mind (detail) 2010 acrylic and resin on MDF panel
image courtesy of the artist