Still Hours

Truong began Still Hours in the winter of 2024, working only in the last ninety minutes of daylight. Each session added a single translucent layer of oil, so the surface carries time the way sediment carries a river — slowly, and without argument. Seen from across a room the painting reads as a field of warm grey; up close it separates into dozens of evening colours that never quite resolve.

The work belongs to a cycle the artist calls her dusk paintings, begun after a year of refusing studio light entirely. Where the earlier canvases held on to the outlines of furniture and windows, Still Hours lets them go. What remains is weight: the pressure of objects on a room after their edges have dissolved.

“I paint the hour just before dusk — when objects give up their outlines and keep only their weight.”

For collectors, the painting marks a hinge point in Truong's practice. It closes the representational chapter of her work and opens the tonal abstraction that has since defined her international exhibitions. The gallery considers it among the most significant single canvases it has handled this decade.