The Desert (after Saint Francis in the Desert by Giovanni Bellini)
Oil on Linen
Painted from the same vantage point depicted by Bellini, this painting is illuminated by soft moonlight rather than Francis’ epiphany. The purpose of this painting is turn the dazzling kinetic power of the original, which used Francis as its fulcrum, into an inwardly rolling landscape which hums with potential.
Hung (after Garden of Earthly Delights triptych, closed, by Hieronymus Bosch
Graphite and Acrylic on paper
The Bosch composition, bisected by a seam where the two outer panel meet, bares a striking similarity to the description offered by Milton of the newly minted Earth as seen by the devil in Paradise Lost. This work reconciles these two visions and recasts the seam that is structural in Bosch, or the pendulum string of Milton, as an axis holding the new composition taught as it spins and peels apart.
Longing (after Descent from the Cross by Rogier van der Weyden)
Oil on Oak Panel
Her fingers, spider-like, appear to be crawling up her electric blue thigh toward the wounded limb that hangs limp just above. His wound is explicitly feminine, and the question is whether or not her purity is any match for such an infliction.
Act (after Incredulity of Saint Thomas by Caravaggio)
Oil on Aluminum
Giving the composition a quarter turn, and cropping out the identities of the participants, certainly blurs the act being performed. But the proposition espoused by the original remains intact in the new composition; there are frightening and wonderful things at the crossroads of trust and permission.
The Break of Day (after Fight with Cudgels by Goya)
Oil on Linen
The new composition takes the inevitable act of violence depicted in the original, and turns it into an explosion of light and movement. The mass of the two giants fighting has been projected into the cloud behind them, and the site of their dual blow becomes the origin of the sunrise, illuminating their fleeting forms.
Impact (after Fight with Cudgels by Goya)
Graphite on Paper
A perspectival study for the painting The Break of Day using force rather than light to disintegrate the dueling strangers.
Cathedral of Maholy-Nagy
Oil on two Panels, attached to plywood
This is not a translation from an individual work, but rather an architectural sketch of a place of worship through the imagined lens of Lazlo Maholy-Nagy.
Paint Tube Crucifixion
Solidified oil paint, paint tube, brass tacks on paper
It began as a kind of joke on Francis Bacon, and Clement Greenberg. Once finished it acted as a reminder of the role that oil paint played in transforming The Word into flesh during the 15th century.
8 / 8
© 2015 Peter Mallo