This painting belongs to the ‘Invocational’ series. It’s mostly soft earth colors, a monochrome painting, but not quite. Therefore it’s not a very like kin to the rest of its sibling works. In the middle of the paining is a collage image, an enlargement of the small photo I have of her. She’s a young girl, around 10-11 years of age, standing on a sidewalk outside her home in Heath Springs, South Carolina. She’s at a three-quarter angle to you as the viewer, her shoulders scrunched up for she’s cradling a kitten in her arms.
There’s strong sunlight on her. The Sun in casting very strong shadows, including hers. It has always seemed to me a terribly intimate and poignant image, but at the same time one of contentedness and love. The town is small today and was smaller then, which was around 1952 or ’53. All sensibilities of he original photograph are my own, for I’ve never asked her to look at it as we’ve never really been close. So you see, it’s a mystery.
The title of the other three paintings are a variant of “Marylyn’s Metropolis.”
But, I titled this one “We Desire.” There are many reasons, all having to do with how I’ve always interpreted that photograph. That is what art does; just like a writer, you are able to make up a story, and present it to the world, as I’ve done here.
It’s also the largest of the four works. The first was 8 inches high by 4 inches wide; this variation is around 16 inches high by 14 inches wide. The other three were all some shade of red as the predominant color.
But not this one.
This one belongs to me. It's not the last, I think, on this theme. I decided a few months ago to visit Marilyn, and talk. The next one I make, without a doubt, will be a digital (possibly a digital/hybrid build) maybe even a varied edition to explore more of the story I've created since painting that first small one in 1996.
"We desire," 1998 acrylic/collage/image transfer on cradled wood panel. Each side rail is a unique but very related treatment. The eyeglasses are from a 1916 SC newspaper.
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