Dan Tague’s “Reductive Series” probes the relationship of form (object) and composition (space). These works simultaneously reveal and conceal with a "hinge" concept creating an event horizon on the picture plane by cutting and pasting part of the canvas to an adjacent primed wood panel to complete the idea (shape). In his "meta text-based" series, Tague applies words and phrases to artisanal paper via graphite. The prescribed phrases, interpreted in an achromatic simplicity, prime the viewer's search for meaning or context about the autonomy of the artwork. Often the text seems in contrast to what is being presented to the viewer whereby questioning the reality of both the art object and the viewer's relationship towards it. This series also questions societal insistence on defining or labeling based on empirical impressions. Tague establishes a dialogue with the viewer that requires the artwork to be partly imagined in order to complete the intention based on trust of what is being offered by the text. The viewer is confronted with the task of accepting the physical appearance or considers other possible narratives of the artworks' identity.
Tague received an MFA from the University of New Orleans. He has work in the public collections of the Whitney Museum of American Art, the New Orleans Museum of Art, The Speed Museum of Art, Luciano Benetton Collection, Frederick R. Weisman Foundation, West Collection, and the Ogden Museum of Southern Art.