268. THE HOLLOW EYE
The eye when viewed on a large animal is perceived as a separate event from the surrounding head.
In this work the stripping away of the excess is used to arrive at the spindly essence.
1991 DE'PART POUR LE GRAND VOYAGE SERIES DANTE’S Divine Comedy Partially based on Balzac’s 1831 story of Frenhof, about self deception on the part of the modern artist. A strange nether world of unatural landscape with naked human figures. Dante so hated money hoarders that in the inferno, the first part of his epic Divine Comedy he consigns misers to the fourth circle of Hell, where their punishment is to roll giant stones through eternity. |
266. SISYPHUS A Sisyphus-like puzzle in the self-limiting form of a kind of embroidery in densely woven lines. Some of which resembled cardiograms. Parzival meets the large rooster that initiates him into the secrets of life. Based on Kafka’s pronouncement that art should be “the axe for the frozen sea in us, the submerged iceberg of the human mind. References to deities, animism, mask emotions of private failures and animosities. In the great cortège that takes place at the climax of the poem, when Dante has reached the earthly Paradise at the top of the Mount of Purgatory. |
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268. THE HOLLOW EYE The eye when viewed on a large animal is perceived as a separate event from the surrounding head. In this work the stripping away of the excess is used to arrive at the spindly essence. |
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269. PROVOCATIONAND PARADOX |
279. THE FOUNTAIN OF TEAR Based on Picasso’s theme of David’s dead Marat, but unlike David who eliminates the assassin, Charlotte Corday from the scene of revolutionary martydom, Picasso reintroduces her with a vengeance, which flout the laws of anatomy. Flying demon of bourgeois femininity, spiky teeth & dangling swan's tongue, tokens of unconscious force. Marat, a Jacobin martyr, stands for ideas. |
277. THE SEVERAL HELLS Eugenic warriors in the Purgatorio of Dante, self-portrait like of a Sisyphean nightmare of eternity. Mystical and self-evident flight, man is a beast of burden in more ways than one, sympathies between man and beast. Painting from the nude, speaking to something basic in all of us. A collision between 60’s Foucaultian pluralistic guise occurs by use of the human facial features as the soul, frozen and iconic. The mortal body commands respect precisely for being life’s vehicle.The sensory conduit through which we experience this world before departing for the next. Slipping in and out of shapes, by trace and echo to the status of prayer. |