Glossolalia

Alexandra Levasseur
Alexandra Levasseur

I will have you
You will be speaking in tongues
Crying out harsh barbaric invocations
Shouting entreaties to forgotten deities
Babbling away in rapturous ecstasy
Before this night is over but you better
Believe that this is only the beginning

For I will have you
Over and over and yet once again
Every element of these arcane rituals
Have to be satisfied in every aspect
The right word said in the right place
At the right time this is the right action
That will cause the doors to open wide

I will have you
I will take you there to a place you
Can only vaguely remember in dreams
A world of mesmerising fascinations
Inevitably leading to intoxicating danger
Nothing is true nothing is real everything
Shapeshifts you only have your self to lose.

A Penetrating Insight

Francis Picarbia-Statices 1929
Francis Picabia-Statices 1929

 

AAAAAhhhhhhhhhhhhh………..
………..yeaaaaaaaaaaaHHHHHH
Fuck aye.
The noo you know
The new for now
Oh no
No No NO…

What was that?
You want me to repeat myself?
You didn’t catch me the first time around
You couldn’t quite…understand?
Why, did I fucking st-st-ss-st-sh-st
Stir shutter st-stutter?
Maybe I did but maybe
You should pay attention

(is it for real is it for real)

And listen closely for once
Instead of just talking on and
On and over and on

(is it for real)

Droning on like a dazed wasp
Drunk on the sun and nectar
As for me, well I never could

(is it for real)

Help losing the run of myself
The raging nights eventually
Turned into days of anger
That summer of blissed love
Turning into a nuclear winter
Of seething hatefulness
I suppose we all see

(is it for real is it for real)

Things differently
With varying rates
Of absorption,
Insight and penetration;
Five minutes five days
Five years five aeons
But I think you need a break
Even God rested on the Sabbath
Yeah a change will do you good
So do us all a favour,
Don’t be a cunt all your life
Take that vacation, starting now.

Now I know this shit is for real
Definitely maybe probably
Decidedly so I know the score
This is the deal I’ve be waiting for

(but is it really for real for real for real)

aaaaaHHHHHHHHHHHH………..
………YEAAAAAAAAAAAhhhhhh
Fuck aye
The noo you know
The new for now
And aye
Aye Aye AYE

The Reader

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Gerhard Richter-Lesende (The Reader) 1994 

A truly astounding and disorienting masterpiece by the German virtuoso of latter 20th and early 21th century art, Gerhard Richter. What appears to be at first glance to be an artistic photograph, albeit a sublime one, of Richter’s beautiful third wife Sabine Moritz reading a newspaper, turns to wonderment and awe when you realise that this is actually an oil painting on canvas. There is an absolute perfection of the reproduction of the original image in a different media, a dizzying illusionism that questions our perception of art and consequently reality itself . The gorgeousness of the play of light across the sweep of the neck and shoulders, combined with the serenity of expression and the unquestioned technical mastery is worthy of Vermeer, an acknowledged inspiration.

Richter, who is quoted as saying that he is a Surrealist, has painted in a bewildering array of styles during his career that has spanned over 60 years. As well as his hyper-realist and photo-realistic paintings he has painted abstracts, monochromes and landscapes. Over the last five years his work have fetched the highest prices of any living artist. The Museum Ludwig in Cologne, a city Richter has resided in since 1983 holds a large collection of his work and recently held an exhibition of a series of 26 abstracts painted in 2015.

Transience

transience
Anna Di Mezza-Transience 2017

The contemporary artist Anna Di Mezza, whose artwork I have featured several times,(EvolutionQuestions & Answers with Anna Di Mezza and Double Take) has acknowledged in interviews her admiration for the Italian painter Giorgio De Chirico, whose ground-breaking Metaphysical paintings profoundly influenced the Surrealists. Anna’s latest works are firmly situated in this metaphysical tradition, where the primary focus is to raise questions regarding identity, reality and the creative process.

Transience also possesses elements of Anna’s characteristic Twilight Zone style sensibility. Toward the extreme right side  of the painting a portion of a glamorous female face can be seen taking shape, emerging into being. The darker stripe of paint that converges towards the pupil is suggestive of  a pencil. The eyebrow is also subject to this effect, though appropriately more reminiscent of a mascara wand. Looking at this painting I get the uncanny feeling that this is a preliminary sketch for an android; that the artist is showing this ersatz figure coming to life before our very eyes. However the reality of images is always fleeting and transitory, fading away when we stop looking, returning only as fragments that haunt our dreams.

 

Evolution

Evolution-Anna Di Mezza
Evolution-Anna Di Mezza 2017
Following my recent post and interview with the exciting Australian artist Anna Di Mezza, I am delighted to share Anna’s wonderful new painting Evolution.

Like all art worthy of the name, Evolution raises more questions and possible interpretations then it is prepared to answer. The following analogies are my subjective opinion alone, which Anna (thankfully) wishes to neither confirm or deny.

In the blanched, washed out afternoon light, three wavering, ghostly young women are in the process of a mysterious dissolution; of being rubbed out, literally erased from the picture. The source of the irradiating unreality is a rip (a tear in the space-time continuum?) in the centre of the composition which is half filled with a column of paint and has almost obscured completely one figure, the remaining lower part of her body is elongated and distorted. The two figures to the right are blurring proportionally to their nearest to the tear.

To deepen the mystery further the only spot of bold colour to be seen is the red in the corner of the cut-off doorway. At first glance the ball (or apple) seems to be floating but upon closer examination appears to actually be in place of a head. At the bottom left of the painting an oddly shaped shadow that apparently belongs to a figure outside of the frame can be seen. The relationship between the main group of three figures, the red ball in the doorway and the shadow is ambiguous and unresolved.

Although it appears to me  that Evolution presents a scene of  disappearance, the title contradicts this interpretation and suggests that actually the figures are evolving into being. Whether it represents a coming into being or an after-image of an hallucination , Evolution is a vivid snapshot from the kind of  nightmare you have while falling to sleep watching a late night movie.