'PRAYING HANDS'
I am interested in the
transformational power of art.
This series of drawings seeks to transform images of Bill Clinton taken
from popular culture into art by restoring humanity to photographs shown in the
press.
ÒPraying HandsÓ extracts the
universal from the specific by reinventing and reinterpreting ClintonÕs image.
Thousands of pencil marks reveal the artifice and hand behind the image making
while enacting an alternate rendering through framing, style and genre.
The title of the series is
borrowed from DurerÕs 1508 drawing 'Praying Hands' The image echoes the renaissance
drawing's style and emotional tenor. While images from the popular press tend to inspire snap judgments
and quick glances, images from 'fine art' tend to have a more timeless quality
that inspire a longer gaze and viewer empathy.
In 'Praying Hands', Clinton's
face and hands become a mirror for mutual recognition with the 'other'. Clinton
becomes a man caught in the midst of a struggle between his inside and outside
selves. His hands covering his mouth, silencing himself at this climactic
moment in his life when he stands to lose everything he has worked for. By
cropping obvious elements such as his nose, full head of hair, and mouth,
the viewer responds with initial uncertainty, sensing a familiarity with the
face, but unable to immediately fall back on a pre-determined response, he/she
must look at the face afresh, with openness and intimacy..