Crucifixion/Cadaver Exquisito – A Dedication to Francis Bacon

As the title entails, this piece is meant as a three-dimensional dedication to the painter Francis Bacon. One of his crucifixion paintings inspired the figure, as well as the intent of the base from which it hangs. The base is alike to the kneeling bench in catholic churches, both in color and in padding, and at the same time, shape wise, it is like the hook from which poultry hangs. I’ve always found myself extremely interested to Bacon’s commentaries on life.
I find him to be a ‘‘true realist’’, in the sense in which he looks at humans as just a beautiful, and at the same time horrendous, compilation of skin and bones, not any different to an animal in status or design. Bacon’s technique might not be realistic, but his ideas are as real as it can get. The decision to use animals (= monkeys, chimpanzees, dead poultry) in his crucifixion scenes just strengthens the idea of no status difference; they are worthy (or condemned) to suffer the same ways we do. As I interpret it, Bacon saw us as exquisite corpses (cadaveres exquisitos), not as in the surrealist collaborative artistic method, but as beautiful and complex moving cadavers who work in surreal ways.
These piece is part of a show, the Miniature / Micro-Monumental, in the Townsend University as of now, and until the beginning of November. After that they will come back to the University of Delaware together with other student’s work from Townsend and displayed here. Hopefully the show will make their way to Asia afterwards, to both Thailand and Japan.

Poem Series: Vero/Angela/Maiki

''Vero''

''Angela''

''Maiki''

These I like to describe as my poem series. Basically the pieces come into existence after I undergo a specific process. This involves me remembering. I remember specific people, places, situations, but mostly people. Friends, family, old lovers, and while I do so a make these intricate porcelain pieces that I believe incarnate them. To be able to instigate my remembrance of them, I set up a situation were I believe to remember them best. This may be by reading old letters or emails, by engaging in conversations with them online, or/and by listening to specific songs. It’s a simple process, they are simple pieces, but it’s a complex subject for me to deal with, and it’s personally important that I do so. It keeps me at balance, and from going insane.
The palettes have come to signify something truly important in my work. In some pieces they are the material that already has a weight, a history, which adds a complete different subset to the work. In these pieces the palettes are exactly what they are in normality, a platform for an object to be sent. This way I send off my strapped poems out to the world. They were written, composed, or formed, for someone far away, so it just seems proper that they have the same fate, to travel far away.
These pieces are part of a show, the Miniature / Micro-Monumental, in the Townsend University as of now, and until the beginning of November. After that they will come back to the University of Delaware together with other student’s work from Townsend and displayed here. Hopefully the show will make their way to Asia afterwards, to both Thailand and Japan.