- Spontaneous TRIPTYCH
I loved it when Ben Lincoln and Tasha Ostrander turned these three horizontal paintings on their sides, each created independently of the other, placed them together vertically to make one huge painting. This is exactly how I arrived at the very large painting, THE RED FENCE, in 1981 for the collection of the San Francisco MOMA, painted upon returning from China. Ben’s and Tasha’s ‘actions’ is how many of the compound paintings of that decade were created. That action is entirely consistent with the driving force behind much of my work, to locate the sacred space where a ‘simultaneous multiplicity of disparate realities coexist’ of being and nothingness.
The painting on the left is titled, LEGITIMATE RAPE. My immediate angry response to the outrageous remark by the Southern Senator who claimed a woman’s body will reject sperm from an uninvited perpetrator. I had been painting the Buddha’s beautiful sacred feet when the jolting abruption occurred like a flash! Wrathy!
BOOGIE STREET 2, the painting in the middle (after a Leonard Cohen song) was painted in response to the horror of the murders at Sandy Hook and the surreal fact that we still have battlefield weapons on the streets of America. Shocking! I hope this image might become a US Postage stamp one day!
The painting on the right is an effort of transcendence, to leave acknowledgment of our sometimes brutal world behind, to enter a dream of my heroic JM Turner, sunlight and dying rose petals: peace and calm. Emptiness. It’s title yet to be determined.
- Ciel Bergman