"The Constraints of Psychological Self-Defense Mechanisms, Actualized"
77 cm wide x 102 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
77 cm wide x 102 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
77 cm wide x 102 cm tall
Oil on Canvas
PROVENANCE: On hand at artist’s studio. Signed R23 on front bottom right. Artists seal and Certificate of Authenticity in Sleeve on back. See Description below for more
Semi Abstract Attraction
Titled “The Constraints of Psychological Self-Defense Mechanisms, Actualized” This painting was about the idea of meeting a woman who was perfect for me, suitable in every way; encountering a woman with whom I can be completely honest with and feel no fear, regret, or the holding back of a heart full of passion.
It involved the idea, and perspective of everything that reality would entail. From the comfortable feeling of home to the safety of a warm strong embrace. It evolved out of the representation of letting go and trusting in my heart. Believe it or not this painting was a departure from my typical subject matter.
Normally the contents of my paintings do not contain a lot of foreground objects. The obelisks and the ruins are typically situated about medium distance from the viewer and the horizon line, but there are very few objects ever in the immediate foreground. The solid Venetian red object in the background is firmly grounded, heavy, and represents the foundation of my entire life.
From there, moving towards the viewer, is a shape that is familiar in my work. It represents having to live in this dimension and encompasses everything from a physical domicile to the comfort of a woman with a warm heart, a woman truly grounded in righteousness, fairness, and good nature towards her friend and lover.
The half structure in the foreground represents the ruins, or the past, of everything related to the two previous objects (the two lovers). It is an actualization of the past and is just as beautiful as the present; it has been hewn meticulously from the heart of truth. These ruins are not crumbled but seemingly severed from the foundation with precision. It creates a sense of oneness between the two objects behind it.
The elongated rectangular beams in the foreground and around everything are the cares of the world, the bullsh-t parts of life like money, cars, jobs, tv, and the surface conversations. The two lovers are untouched by them. The title represents what happens when you look away from what brings you true peace, true happiness, love, and joy. In true love there is no turning away.