National Interest cause: PUBLIC AWARENESS now benefitting: Public Education Network
While living in Manhattan, I received numerous invitations to opening
receptions. One such card featured Zdzislaw Linder's Stimulus
of Life. Its subject and composition inspired me to make a completely
different statement all together. Most Cause Collection artifacts
possess at least one of these characteristics: socio-political,
symbolic, sensationalistic, silly, or spiritual. This didactic piece
of work has them all.
The entire composition is
infused with mystical numerical ratios and sacred geometry. For
example, its horizontal rectangular dimensions are created by the
fusion of two interlocking 3x4x5 triangles. The vertical rectangular
threshold in the composition’s central background echoes these proportions
while incorporating a perfect square denoting honesty, straightforwardness,
morality, and integrity. This is where the story begins, unwinding
in a counterclockwise direction, chronicling disparaging aspects
of American history.
The
figure of a Native American brave refers to America’s pre-European
origin. For American indigenous people, truth was necessary for
the survival of the individual and the culture. In tribal culture,
the dishonor of lying merited immediate exile and certain death.
Since their belief system tolerated only truth, dishonesty was unfathomable.
Such a system was directly responsible for the natives' reputation
as “Noble Savages” and “Honest Injuns.” Unfortunately for the natives,
truth, the whole truth, and nothing but the truth as a survival
skill was foreign to those immigrants who seized opportunities to
take advantage of the natives' seemingly gullible nature. As the
“white man” told “white lies” to the “red man,” deception paved
the American Way, literally and figuratively, making America no
longer the home of the brave.
From his position at the threshold,
the brave observes two directions, drawing the viewer’s attention
from America’s origin to representations of it’s remote past. The
brave and the viewer now witness a new Truth, Justice, and American
Way represented by symbols of American ideals (see Right on
the Money!) appearing in a perfect square illuminated chamber
(as noted above). Alternately, appearing in the darker gallery rotunda
is an unusual portrait of America’s first president, George Washington.
Although it appears similar to Gilbert Stuwart's 1796 portrait of
Washington on the face of a U.S. one dollar bill, it exhibits two
distinct differences: its chameleon-like eyes allude to ever-changing
American interests; its three-dimensional nose alludes to deceptions
perpetrated to protect those interests, akin to Pinocchio’s growing
nose.
Among the many subtle deceptions: supposedly Stuwart exercised great
artistic license in depicting a more appealing image of ‘the father
of our country’; although American grade schoolers are taught to
never say “never,” they are taught the story of George Washington’s
childhood cherry tree cutting experience to promote the “fact” that
he ‘never told a lie.’ (Incidentally, they are not told that the
cherry symbolizes Paradise, nor are they told that President Washington
enforced disciplinary action upon his slaves by beating their dogs
to death.)
Having moved from references
of America’s origin to its remote past, President
Washington’s direct eye contact with the viewer simultaneously oversees
America’s relatively recent past. This monumental sculpture of President
Kennedy and Marilyn Monroe alludes to degenerate behaviors of successive
generations and the vast national resources used to mislead the
public with disinformation. (In light of more recent events, the
figures could easily be substituted with those of President Clinton
and Monica Lewinsky.) Public interest is national interest, by popular
demand. Here, the sculptor satisfies the nation’s need to truly
witness history in the making. Once acknowledging this presidential
act, perhaps the public will now take more responsibility for the
interests of the republic for which it stands.
This monumental sculpture,
painted with powdered glass, is mounted upon a three-stepped base
representing the three steps to public enlightenment: awareness,
understanding, and knowledge. A declaration, “WE THE PEOPLE ASK
NOT WHAT”
is written in stone on the rise of the first two steps, questioning
the authority of apathetic citizens. Pondering this assertion, nearby
stands a dark figure of a nude pregnant woman representing the vulnerability
of both the present and the immediate future. Above hangs a painting
forecasting our possible distant future, if we the people remain
in this chamber of darkness.
Fat
rats, symbolizing the future decay of America’s three branches of
government, suckle from a Nixonesque Uncle Sam sphinx representing
the ruins of our future dysfunctional mother country. On the distant
horizon of a dark and bleak future, incomplete pyramids appear representing
monuments to our nation’s unfulfilled potential. This futuristic
vision directly contrasts the ideals envisioned by our Founding
Fathers in the nearby illuminated chamber. Perhaps now is the time
to ask not what we can do for our country, but ask what we must
do for our culture.
Observing
National Interest, many viewers express an interest
in seeing the “actual” sculpture. For one of my one-man-shows I
created this larger than life-size piece. However, the figures were
substituted with those of an unidentified headless man and the Statue
of Liberty, once again making an entirely different statement. Could
this be America dominating foreign interests, a patriot loving his
country, or perhaps something else? This piece is entitled, Life,
Liberty, & The Pursuit.
While living in Manhattan, I received numerous invitations to opening
receptions. One such card featured Zdzislaw Linder's Stimulus
of Life. Its subject and composition inspired me to make a completely
different statement all together. Most Cause Collection artifacts
possess at least one of these characteristics: socio-political,
symbolic, sensationalistic, silly, or spiritual. This didactic piece
of work has them all.
The
figure of a Native American brave refers to America’s pre-European
origin. For American indigenous people, truth was necessary for
the survival of the individual and the culture. In tribal culture,
the dishonor of lying merited immediate exile and certain death.
Since their belief system tolerated only truth, dishonesty was unfathomable.
Such a system was directly responsible for the natives' reputation
as “Noble Savages” and “Honest Injuns.” Unfortunately for the natives,
truth, the whole truth, and nothing but the truth as a survival
skill was foreign to those immigrants who seized opportunities to
take advantage of the natives' seemingly gullible nature. As the
“white man” told “white lies” to the “red man,” deception paved
the American Way, literally and figuratively, making America no
longer the home of the brave.
chamber
(as noted above). Alternately, appearing in the darker gallery rotunda
is an unusual portrait of America’s first president, George Washington.
Although it appears similar to Gilbert Stuwart's 1796 portrait of
Washington on the face of a U.S. one dollar bill, it exhibits two
distinct differences: its chameleon-like eyes allude to ever-changing
American interests; its three-dimensional nose alludes to deceptions
perpetrated to protect those interests, akin to Pinocchio’s growing
nose.
ent
Washington’s direct eye contact with the viewer simultaneously oversees
America’s relatively recent past. This monumental sculpture of President
Kennedy and Marilyn Monroe alludes to degenerate behaviors of successive
generations and the vast national resources used to mislead the
public with disinformation. (In light of more recent events, the
figures could easily be substituted with those of President Clinton
and Monica Lewinsky.) Public interest is national interest, by popular
demand. Here, the sculptor satisfies the nation’s need to truly
witness history in the making. Once acknowledging this presidential
act, perhaps the public will now take more responsibility for the
interests of the republic for which it stands. 
T”
is written in stone on the rise of the first two steps, questioning
the authority of apathetic citizens. Pondering this assertion, nearby
stands a dark figure of a nude pregnant woman representing the vulnerability
of both the present and the immediate future. Above hangs a painting
forecasting our possible distant future, if we the people remain
in this chamber of darkness.
Fat
rats, symbolizing the future decay of America’s three branches of
government, suckle from a Nixonesque Uncle Sam sphinx representing
the ruins of our future dysfunctional mother country. On the distant
horizon of a dark and bleak future, incomplete pyramids appear representing
monuments to our nation’s unfulfilled potential. This futuristic
vision directly contrasts the ideals envisioned by our Founding
Fathers in the nearby illuminated chamber. Perhaps now is the time
to ask not what we can do for our country, but ask what we must
do for our culture.
Observing
National Interest, many viewers express an interest
in seeing the “actual” sculpture. For one of my one-man-shows I
created this larger than life-size piece. However, the figures were
substituted with those of an unidentified headless man and the Statue
of Liberty, once again making an entirely different statement. Could
this be America dominating foreign interests, a patriot loving his
country, or perhaps something else? This piece is entitled, Life,
Liberty, & The Pursuit.