MAID - Modern Art In Danger
[ Previous / Next ]
The particular type of 'danger' here, and its proximity, differs depending on the work, but that's the central theme this week in general. For starters, Magnifying Glass is fairly concrete and fairly straightforward as a result. The titular subject of the work is in the center, a circular ring with areas of blackness, and a long, pointed handle. Its beam is focused on a particular spot below, which itself buckles under the force of the magnification and spreads cracks around itself. Bunker Entrance is a familiar archetype, colored blue, but instead of interpreting the figure on the hill as an organism crawling, it interprets that figure as an opening, defended around its nexus. The pale background gives an indication of the location being pictured, and the pink highlights within the various blue arms highlight even more effective measures of defense. No, It Was Him is weirdly concrete, the small figure slightly top-right of center being the focus of the work. With spindly arms, it points towards the huge black tower, accusing. The background emphasizes the severity of this maneuver, the vertical lines lending even more gravity. Nearby Sun is fairly simple in composition, a fairly standard bowl archetype, an opening at the very bottom where some creatures look out towards a huge ball of light, contrasting in color with the rest of the image. A sun should not be that large in the sky - something is clearly wrong. But finally of note, Arrested from Sunlight has an exciting orange-centric color scheme, but only part of the work gets to benefit. A dimmer portion is cut off from the light part by a number of vertical lines that are used here as jail bars. This inner part, despite its dimness, is larger and has more texture, more intricacy, than the outside. It longs for what it's missing, more color, more interest, that it cannot have. Please enjoy!