unknown

IN THE EARLY DAYS

If most of us saw the world in shades of grey, found beauty in this, and knew nothing of colour, we might close ourselves to any talk about rainbows being more than glowing arcs. Our fear could be that seeing colour would propagate dangerous changes in people’s outlooks. Allowing others to see differently than us would be risky. Perhaps we would try to fix them, even if they may not see themselves as needing to be fixed. “Fear not,” they might say. “The dimension of colour does not obstruct the splendour of light and shadow, and can collaborate with it in perfect alliance.” How would we proceed? (2020, charcoal on paper, 70” x 30”, 177.8 cm x 76.2 cm, frame included)

TRYING TO FORESEE

As we observe the world, we each have our ideas about how to adapt to it and how it could be restructured to adapt to us. This results in a myriad of shifting arrangements between each individual and their surroundings. If our individual observations also take into account the observations of others, and if our individual adaptations are based on collective consideration, then together we create a future for all. (2022, charcoal on paper,

17” x 19 3/8”, 43,2 cm x 49.2 cm (frame included)

FULL MOON

The frame for this artwork was a challenge for my metal worker, who heated up and beat a straight piece of steel angle-iron around a wooden form for eight hours until the desired oval shape was achieved. Two solid wood templates were destroyed in the process, but the result was beautiful. The surface effect was achieved with a grinder in order to create a visual link with the shiny metallic elements represented in the drawing. Clever technical innovations were required to attach the oval-shaped paper to its backing without the threat of subsequent wrinkling due to changes in humidity. The wooden element that spaces the acrylic sheet from the drawing was made from laminating thin strips of wood into the required elliptical shape. The oval composition was crucial to achieve a womb-like connotation, where the frame, the armour and the curled-up nature of the pose all serve as protection for the otherwise nude and vulnerable figure. (1997, charcoal on paper, 35 ¾” x 27 ¼”, 90.8 cm x 69.2 cm, frame included, sold)