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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
This self-portrait completes a cycle of semi-self portraits I have made over the past 2 years. By which I realise now has been a critical self-evaluation of a ‘home-coming’.
I finished this piece thinking of the following passage from Roberto Calasso’s The Marriage of Cadmus and Harmony:
A Maenad had a fawn tattooed on her soft, bare right arm. She was breast-feeding a fawn, stroking and playing with it. Then she grabbed it, tore it to pieces, and sank her teeth into the still pulsing flesh. Why this sequence? And why must this sequence forever take the form of a sudden raptus, when really it was a ceremony? … Altarless, she wandered through the trees. Dismembering the fawn, the Maenad dismembered herself, possessed by the god. Hence, in devouring the fawn she devoured the god, mixed in its blood. She who was possessed thus tried herself to possess a part of the god. But what happened afterward? A great silence. The sultry heat of the woods. Strips of bleeding flesh glimpsed through the leaves. The god wasn’t there. Life – incomprehensible, opaque.
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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
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The Bush has ceased to weep, and when she smiles, she is a mistress not to be denied Detail varying papers, watercolour Photography: Ari Hatzis |
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