Is this the little woman that made this great war? — Abraham Lincoln
In this multiple portrait, I explore the New Jim Crow and other 21st century disfunctions and broken promises, with references to 19th century studio portrait photography and allegorical art. A poor character from an abolitionist poster (printer Josiah Wedgwood’s invention, not mine), appeals for freedom to the two celebrity abolitionists and public intellectuals, as Harriet Beecher Stowe sits in Lincoln’s Memorial chair and Henry Ward Beecher dreamily ponders his next lecture (or dalliance).
A chain-link fence (invented by England’s Charles Barnard in 1844), a tool that is alternately employed to keep people inside some places and outside of others, plays the part of the sea and the sky, which both divide and unite. I tried to capture guitarist Dick Dales “the boom of the barrel and the hiss of the lace”, as he described the ocean. Negative space is created above and positive space is created below, though there’s really no difference between negative and the positive space anyhow, nor between above and below. Like people, things are more closely related than we credit them for.
The airy cloisterocity at the top of the painting describes the feeling I experienced at Bristol Cathedral, when energy fills the brain, pure and unembellished by the senses.