Presente (box presentation)
"Presente" 1989, tempera on wood, 14" X 10", wood, glass, stones, acrylic.
In this second iteration of thus installation the 99 stones were arranged in a coffin like box (under glass). The painting was inset into the lid of the box.
The painting references Giotto's "Lamentation", but the one being mourned is absent. In the portion on the top of the painting above a woman holds a lamb (alluding to the parable of the lost sheep) and a photograph of a young man (her son?).
In the '80s there were stories of gatherings in Central America of women whose sons and husbands had "disappeared" (most likely killed by militias). The men's names would be read and the women, holding a photo of their loved one would respond "Presente!" While preparing this project my sister Amy Grubbs Moore did research on people who had "disappeared" in such situations. The names of 99 of these people and the dates of their disappearance were written on the stones.
I'm really not sure of the efficacy of this kind of work, but I continue to be interested in art that moves us towards justice, love and engagement.
The initial presentation of this project looked like this: at Gwenda Jay Gallery
Presente (box presentation)
"Presente" 1989, tempera on wood, 14" X 10", wood, glass, stones, acrylic.
In this second iteration of thus installation the 99 stones were arranged in a coffin like box (under glass). The painting was inset into the lid of the box.
The painting references Giotto's "Lamentation", but the one being mourned is absent. In the portion on the top of the painting above a woman holds a lamb (alluding to the parable of the lost sheep) and a photograph of a young man (her son?).
In the '80s there were stories of gatherings in Central America of women whose sons and husbands had "disappeared" (most likely killed by militias). The men's names would be read and the women, holding a photo of their loved one would respond "Presente!" While preparing this project my sister Amy Grubbs Moore did research on people who had "disappeared" in such situations. The names of 99 of these people and the dates of their disappearance were written on the stones.
I'm really not sure of the efficacy of this kind of work, but I continue to be interested in art that moves us towards justice, love and engagement.
The initial presentation of this project looked like this: at Gwenda Jay Gallery