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A hymn to the true values \u200b\u200bof humanity - Critical Art Julia Cantwell
faces often are disfigured, drawn by a cruel hand that not only steals the hair, but the soul, the deepest identity, in a gesture that leaves the only character on the edge of the canvas itself.
In "Call me, untie the tie" the female figure remains strong on the canvas, framed by a breast that becomes the symbol of his whole personality, wrapped up in that dress at the same time period and velvety erotic. It is not the face, we have said, because it dissolves, together the hair, the long shadow that this woman beheaded by Cantwell, leaves behind his back.
and a small statue of Liberty, a hymn to the genuine values \u200b\u200bof women, especially those of more humble, more farmers, who are on his face and arms immersed in a job that takes away everything, even the dignity of life.
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Also attached to the left side of the canvas, the Cantwell in "From waiting endless" re-examined the issue of nothing behind him, to not leave marks, but the memory of a passage, a ' adventure is the mark of a presence that passes without stopping enough to be remembered, to generate emotions. It is the great game of love, especially the profane, quick, which is eaten quickly and leaves behind only the sense of endless waiting, the one that will never be achieved because one night no more, as they say in New York or, in a more village, because the bed was never promise of eternity, but only a pleasure that soon passes as those that experience. Behind the dark just waiting for the memory pool of something that perhaps never happened, that it was better that he had not realized. Behind the figure in this painting, there is no hope, the character with open arms, filled with hope, do not leave anything behind, you will not lose the street has nothing to leave to the world, not even their fingerprints and this is completely symmetric with respect to the character of the first canvas. Retrieves the size of that figure brain, the brain, the ability to analyze the world: this behind him, everything is dark, no longer makes sense. Because man, it lights up through the gift of reason, metabolizes the world around him and loads of meaning that leaves no room for the event, the vulgar relativism: everything is his point of view, his small landscape the world. And we know as a human being able to think and to value this gift, the past can not become one, a single dark block, which only turn to in times of fatigue, to search for that emotion, so that memory that made us grow. There is a kind of pedagogy of growth in this painting, which apparently can evoke a simple revival of the dark, and is a wonderful lesson. Cantwell represents the prayer of hope, rebirth, not a simple escape from a life darkened by memories. And this win twice: once he wins this canvas for the depth of its meanings. He won a second time to the heroism of his character's very human. Straight out of a coma dream from a long sleep. How many meanings can be found in this figure ... but all are extremely positive, Christian, truly full of that sense of humanity we find in the paintings become an educator, as well as beautiful.
Here the figure does not become the guinea pig of a liquefaction which disfigures the face and arms, is preserved in its entirety, and indeed precisely in those aspects of body size, which were lost in the first painting. Here is the head, are the arms, the arms can be seen even before the whole palm of the hand turned to that dimension of hope that is the direction to go, to cross. And then this figure without sex becomes our calling card to a world that is not lived, but the dreamed, hoped, to aim at least in small islands of utopia that still manage to grow within us.
Rome, 20/2/2008
Andrea Antoniazzi
faces often are disfigured, drawn by a cruel hand that not only steals the hair, but the soul, the deepest identity, in a gesture that leaves the only character on the edge of the canvas itself.
In "Call me, untie the tie" the female figure remains strong on the canvas, framed by a breast that becomes the symbol of his whole personality, wrapped up in that dress at the same time period and velvety erotic. It is not the face, we have said, because it dissolves, together the hair, the long shadow that this woman beheaded by Cantwell, leaves behind his back.
and a small statue of Liberty, a hymn to the genuine values \u200b\u200bof women, especially those of more humble, more farmers, who are on his face and arms immersed in a job that takes away everything, even the dignity of life.
Also attached to the left side of the canvas, the Cantwell in "From waiting endless" re-examined the issue of nothing behind him, to not leave marks, but the memory of a passage, a ' adventure is the mark of a presence that passes without stopping enough to be remembered, to generate emotions. It is the great game of love, especially the profane, quick, which is eaten quickly and leaves behind only the sense of endless waiting, the one that will never be achieved because one night no more, as they say in New York or, in a more village, because the bed was never promise of eternity, but only a pleasure that soon passes as those that experience. Behind the dark just waiting for the memory pool of something that perhaps never happened, that it was better that he had not realized. Behind the figure in this painting, there is no hope, the character with open arms, filled with hope, do not leave anything behind, you will not lose the street has nothing to leave to the world, not even their fingerprints and this is completely symmetric with respect to the character of the first canvas. Retrieves the size of that figure brain, the brain, the ability to analyze the world: this behind him, everything is dark, no longer makes sense. Because man, it lights up through the gift of reason, metabolizes the world around him and loads of meaning that leaves no room for the event, the vulgar relativism: everything is his point of view, his small landscape the world. And we know as a human being able to think and to value this gift, the past can not become one, a single dark block, which only turn to in times of fatigue, to search for that emotion, so that memory that made us grow. There is a kind of pedagogy of growth in this painting, which apparently can evoke a simple revival of the dark, and is a wonderful lesson. Cantwell represents the prayer of hope, rebirth, not a simple escape from a life darkened by memories. And this win twice: once he wins this canvas for the depth of its meanings. He won a second time to the heroism of his character's very human. Straight out of a coma dream from a long sleep. How many meanings can be found in this figure ... but all are extremely positive, Christian, truly full of that sense of humanity we find in the paintings become an educator, as well as beautiful.
Here the figure does not become the guinea pig of a liquefaction which disfigures the face and arms, is preserved in its entirety, and indeed precisely in those aspects of body size, which were lost in the first painting. Here is the head, are the arms, the arms can be seen even before the whole palm of the hand turned to that dimension of hope that is the direction to go, to cross. And then this figure without sex becomes our calling card to a world that is not lived, but the dreamed, hoped, to aim at least in small islands of utopia that still manage to grow within us.
Rome, 20/2/2008
Andrea Antoniazzi
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