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March 22, 1965 - July 17, 2003
These drawings and paintings all talk of transformations, of relationships between each other, our dependence upon one another and the power that the physical body has to express the inexpressible.
I am quite a literal person. My images are at times abstracted but not abstract. I draw bodies because I am surrounded by them, but also because they to me are the most expressive way to talk about the world. The human body is such a powerful image, manipulated shamelessly all our lives, interpreted as ourselves, and as the shell in which we live and through which we experience the external world...
These are not real bodies they are drawings and paintings, metaphors of life and death, of mutation and transformation - we observe it in others, we perceive it in
ourselves... we are organic and ever changing.
Anatomical illustration flourished in the latter part of the 18th century, as the emergent sciences laid increasing stress on empiricism. Art lent to medicine the prestige of high culture, and the illusion that the techniques of realism were presenting the truth. The body became the site where political concerns intersect with personal ones, and so it has remained.
Now medical science has extended life, we have to deal with the natural corruption of the body in an atmosphere of denial.
We live in a society that is both ultra conformist - and where at the same time, as a consequence of this, there is a great deal of exclusion, both mental and social. I think there is a desire for eccentricity, manifested by many artists, which stems from the concern that is at the heart of sacred rites - to take into account what is marginal to a structure, and through the representation of this eccentricity, find a harmony.