Native Embrace

Oil, oil bars & ink on white linen. 94 x 61 inches - 2014 Bryan Prillwitz

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Comment by Beatriz Glez Sa on June 26, 2017 at 1:49pm

Good work, and very interesting comments. 

Comment by Resident Curator on October 15, 2014 at 9:20am

Thanks for responding Bryan.  I do see the cross and helicopter imagery now that you mention it- I really appreciate the visceral quality of all of your work.  You have a strong signature style, whether intentioned or not.

Comment by Bryan Prillwitz on October 14, 2014 at 10:02am

Thank you, I know this is the second time you have reviewed my work. This painting was done in Shanghai along with some of other 2014 pieces. Some of the people who saw it hanging in the Pantocrator gallery saw the heart shape with its arteries, chambers and ventricles. I think I intended the crosses and bodies to morph with two helicopters, if you can see them, but most of the time these things were not very visible in the work I did then.

Comment by Resident Curator on October 13, 2014 at 4:04pm

Curator’s Comments:  

 

It’s very nice seeing these new figurative abstractions.  I still feel as though the more representational/discernible bodies are reminiscent of Egon Schiele, in their contorted elegance.  Whirl, Moon Man and Tower by Peoples Square in particular harness this raw sexually charged energy in posture and stylized accessory.  Native Embrace, by comparison, appears a bit more complex to me.  It captures some of the base corporeal human movements, while folding in somewhat enigmatically on itself.  The pinkish coloration spotted with the more artificial blue hues separates the disjointed cross structures from the bodies; perhaps emphasizing the clash between belief and form. It’s hard to tell where one begins and ends on the skin-like linen support.   The very large scale no doubt adds a rather imposing presence, offering the tangled forms to the figure to separate, or ultimately give in and join.   Looking back over the drawings of figures and weaponry, I’m also very attracted to the piece entitled 88.  It strikes me as very slightly humorous in its overtly phallic aggression when viewed alongside Queen Tiger and Female Ghost and Warships.  But the lush yellow-orange and pale blue pastels together with the gorgeous gestural line belie the nature of the beast. As with all of your pieces, there’s a carrot and a stick.

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