My new work starts with writing - poems that are almost automatic in their conception. The images chosen to go with each of these poems relate to what is written in the same way that the thoughts going through our heads may or may not relate to what we are doing at the time. I'm very interested in this duality: the writing juxtaposed with the scene. I start with the poem and then choose images that are in opposition to the text.
This is consistent with the confrontational point of view I am constructing. It is angry and painful. It is impolite and manipulative. I use questions so that the observer may ask them of themselves while viewing the work. They are to be drawn in by the erotic images; and then confronted by the contrasting text. Slammed in the face with my shouting.
I feel more comfortable with my own hand writing than I do with typesetting. It is more personal It's also reminiscent of being at the blackboard as a child when penmanship was important. I work with graphite because it is coarse and hard. I am presenting art that is not pleasant looking. Hence, black and white rather than the saturated colors I used in much of my early work.
I have been intrigued with the power of erotic art since 1964. In that year I executed a group of erotic clay sculptures. I have produced erotic work in sterling silver, plexiglass, fiberglass, and many drawing media The "written word" concept started in 1974 with a group of drawings called "The Carbon Copy Series". These early pieces were formal compositions, constructed completely with text. My new drawings are a more complicated synthesis; achieved by pulling together these two distinct parts of my work, written text and erotic imagery.
ELEANOR: INVESTIGATION OF A THEME
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