These reticent, jostling figures line up and lean forward to confront the viewer. The eye doesn’t know where to rest. There’s no beginning, middle or end. A ghostliness is caused by the erased marks and conflict arises from the smudging and layering. Using appropriated imagery from fashion magazines, these oversized jackets and thick leather boots upset the figure and question the pictorial translation of history. These fragmented, sculptural figures create their history in which they exist. The isolated central head rises from the bottom of the canvas, disrupting the subject, and object relationship.
A recurring countenance in my work is Rodin’s Head of Pierre de Wissant (1886-88). Iron hopes to explore the dichotomy between power and vulnerability within the world of self-representation. This work is contextually situated within contemporary art that explores themes of reimagining the classical nude. Metal is often associated with toughness or hardness regarded as being linked with attributes of masculinity. Iron also has a silver or grey tonality matching the palette of the work.
This image remains in flux; rendering of these otherwise solid objects into a transient drawing. Leaving the viewer to question: Where is the horizon line? Is it David and Goliath? Or Goliath and Goliath? What happened before? What is going to happen next? And who is watching whom?
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