Light Paintings (Haven Series)
At the concentration camp site and at the Jewish Museum in Germany I began to consider the importance of light in isolated environments, environments of extreme suffering and environments that are considered sacred, such as a church or cathedral.
With light color exists, and color itself denotes life. Light is also associated with knowledge, hope, warmth and energy. In architecture light is utilized as an element of design. If you consider how the architecture of the prison cells limited the amount of light that made its way in, that narrow slit of light becomes more precious to the person in the cell or in solitary confinement. Psychologically, this may have been the only element of hope present in such an environment. In this situation light is extremely important because it becomes the only source of visual escape from imprisonment and isolation. When you look outward, for an instance you are not visually aware of your immediate surroundings, and in that instance there is a visual escape that takes place. When people gaze into a sunset they are experiencing that escape simultaneously with the visuals of color spectra created by light. We are free to experience the vastness of light every day when we walk outside into the sun. This body of work was influenced by those who were not, and are not free.
My interest in the spectacle of the bullfight is to isolate and extract the elements of grace, drama and fluidity without the glorification of violence or any other obvious spectacles associated with the event. Depicting bullfighting scenes with the exclusion of the bull and matador, the movement of the cape becomes the focus of a body of work that re-examines the intricacies of movement present in the initial stage of a bullfight. The obvious figurative elements are referenced only in their absence, amplifying the active beauty found in the movement of the bullfighter’s cape.
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