Williams’ “1962” is an ideal example of Kanovsky’s diagnosis. The work is slightly higher than five feet in height and is nearly the same width. It consists of oil on linen and has two sitting figures.
The character in the background is a woman who appears to be putting on her clothes, or taking off her clothes while looking up at her shoulders, partially looking at the audience, partly in the center.
It’s hard to know if this is Kent’s self-portrait, as most men’s faces are blocked. However, the strong expression of a visible eye is directed at the audience or possibly to Kent himself.
Around both is an illusion world where she is indoors and he goes out. Feet spots spread a paint stream across her sheets. Traditional Japanese ukiyo-e inspired images to sway on the outer limbs, such as faint memories that reappear in the subconscious. The subtle hint of violence and pain found in the rivers of deadly arthropods and varicose veins is completely aware of his arm through the tiger that swallowed the man’s face.
“Tigers are used as an intrinsic manifestation of human need for the vitality of life in life, which is not always free or without scars,” Kent explained.
Is the tiger unable to determine the representation of the relationship between two numbers or an introspective turn.
In fact, Williams’ subjects’ role in his work and their public interpretations are often so different that, frankly, even trying to understand them is a futile cause.
In Williams’s paintings and monotype introductions published in 1991, author John Rieber describes his process: “I came to one of my favorite drawings, ‘Melissa’, what does my question have to do with her? Explain her? Analyze her? Define her? Define her? Define her? Define her?
She was like her, then went out to admire the magnolia trees and would be planted soon. ”
Fortunately, Kent’s work is enough to introspectively, at least to glimpse his world from time to time.
However, the artist does warn that he is not an open book. After all, “I think it will go against ambiguity and advice like me. And, most of my work is more or less different than others. That doesn’t mean my story is written like a book. Problems, relationships, relationships and people’s lives and some time in life are at work at any given time, and I’m going to work at any time, so I’ll be going to work at some time, so I’ll be going to work at some time, so I can do it in some situations. I’ll stay.”
The final explanation I asked for was about “Fusion: Yumiko”. The painting is even bigger than “1962” and depicts an indivisible Japanese woman lying on a quilt embroidered with embroidered flowers. Her arms were wrapped around her, although it was hard to say they were about to comfort or simply feel comfortable. The cherry blossom petals melted into pink shadows above her, gradually being abstracted by patterned cloth and willful limbs. On the journey that begins in Sena’s paintings, an orange extension continues, keeping the breadth of the crocodile jaw bones on the bed.
I sometimes take my work to some personal deep, which is bold. I will cause pain, but I will stay for the reasons.
Kent explained that the skeletal remains “can be seen simply as still lifes, but also reflect Yumi, her profession and her ability to make statements, both sharp, keen and rich, ”
Tell me Zhuangzi, and how he used contradictory statements to illustrate his views on truth and human nature. What paintings can people do, right? – Show us a little truth about human nature. ”
Interestingly, through Yumiko, the discussion turned to Zhuangzi. The most famous writing of philosophers in the fourth century BC is the Butterfly Dream. Once Zhang Qi dreams that he is a butterfly, a butterfly floating around, satisfied with himself, and do it when he likes it.
At first glance, Williams’ themes are all part of the same narrative, but closer inspection may not be the case at all. In “Studio Arrangement”, Natalia seems to float more above the male behind her than sitting behind her. Sena
“1962” seems to be completely unaware of the other party’s existence. They are all separated, divided, drifting in time and space and imagination. Maybe they lie on the same linen, but they are dreaming, outdoors and centuries apart at a linear scale between centuries. Perhaps, in the end, they are Kent’s ubiquitous, to the never-ending orange rope, just extensions.
