Lady in Waiting

  2018   78x56X6 inches  Oil on canvas, over sculpted foam on panel, three dimensional, sculpted female, copper hair  Signed by artist lower left front, signed dated back

2018

78x56X6 inches

Oil on canvas, over sculpted foam on panel, three dimensional, sculpted female, copper hair

Signed by artist lower left front, signed dated back

“Lady in Waiting” is the muse of course. By that I mean, the presentation relies on the general map of a woman’s physical anatomy, totally impersonal, something which we know in a generic sense, she is no one in particular. No culture, race or political agenda or philosophy…only gender. The geometric forms, substitute her body parts and copper hair with abstract shapes, not realistically fashioned, lacking details of identity; not a specific person. Yet the structural architecture of feminine form prevails. It is an armature to compose a color and textural composition, to which I gave my full energy for three months in 2018.

The muse in the artistic context provides the possibility of much more in meaning, much less in identity. The power of symbolism replaces the power of ideological reason. Often one hears spoken; “what women want” or “what women think”. These statements always impress me as presumptuous. In symbolic presentation, the physical muse has a chance to get closer to woman.

Her existential being is presented as structure and Art. She is not illustrated, photogenic or nuanced. This image is not indebted to reality.

Further emphasizing her as symbol, the physically deepest and darkest part of this picture, closest to the unconscious, is her face...and it is absent. The absent face emphasizes the depth of the unconscious.. as most significant.Thus rendering the usual facial glamour of as irrelevant.

Her gesture is of course one of fixing her reddish mane (cut copper pate). I prefer a simple unpretentious act of self-maintenance, as it refers to herself, not a watching world.

The composition is two stacked rectangles. The lower has the back leg cutting diagonally through, upward (with elbow on knee) the upper rectangle, has the head and neck moving diagonally through upward in parallel,to aforementioned leg in bottom rectangle.

Finally the tittle: The initial oil sketch on canvas, the zinc yellow ground, tumbled through my life (studio) for ten years. I glanced or studied the canvas on a constant basis over that period. Finally, I formulated a strategy as to how I might proceed this year.