Magdalena

  2018   80x50X6 inches  Oil on canvas ,over sculpted foam on panel, three dimensional ,sculpted female, polished bronze hair  Signed by artist lower left front, signed dated back

2018

80x50X6 inches

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

Signed by artist lower left front, signed dated back

Her pose is self-reflective, Magdalena is internalized and self-possessed. Her back turned to the artist and the viewer; she cares not. She is contemplative and self-aware, John Paul’s Mona Lisa.

A mighty expanse of alizarin crimson blood flows within; carrying teardrop forms, the lime colored forms, highlighted with zinc yellow.

These forms, her protean DNA, emerge from a winding internal canyon of deep burgundy, which defines the perimeter of her body in the picture. The forms are buoyant, gathering upward, seeking to manifest the woman in the world; another victory in sport or profession, or another loving act as wife and friend. This is my child.

A spring palette surrounds her. The twenty-five carved pieces of canvas are interposed to undulate and counterpoint one another, ever redirecting the viewers’ attention back to the subject, forming a colliding garden of moving components around her. In the background, textural spring floral oil paint mixed with sand flutters and stumbles across an azure hue of pale blue sky behind.

A competitive swimmer and triathlete, I have watched Magdalena remove her swim cap on the pool deck a hundred times after a race. Her long dark burnt umber hair would fall onto and through a waiting hand as she briefly groomed it and strained the water out . The long-mirrored shock of hair arises from the nape of her neck, arches over her head and passes down the length of a strong athletic torso and leg.

Effortlessly kneeling and passively stretching a limb, the cascade of polished bronze reaches her lower femur, It curves inward toward the other leg. I intend this long bronze metal shape to be perceived as a path of energy, originating in her spiritual center and returning to her lower body, thereby sustaining a continuum of graceful repose.

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.