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Loading... Blood Miniature Exhibition Bookby Mark Ryden
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These are miniature paintings of sorrow and fear from artist Mark Ryden's 2003 'Blood' solo exhibition at Earl McGrath Gallery. Blending themes of pop culture with techniques reminiscent of the old masters, Mark Ryden has created a singular style that blurs the traditional boundaries between high and low art. Ryden's vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliche and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with childlike innocence and mystery. No library descriptions found. |
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Sometimes his subjects show sadness, such as the girl on the cover of this book. She is weeping blood and looks very somber. But even when his paintings, typically pictures of little girls, encounter the frightening, the gory, the miserably surreal, they seldom show fear. At worst the girls show morbid curiosity, maybe some trepidation, but there is no fear in Ryden’s work. The introduction to this book describes these paintings as showing a loss of innocence and that may be true. But if there is a loss of innocence, it is one that is expected, one that is not miserable to those losing their innocence because the children maintain their wide-eyed beauty even as they are confronted with the dreadful and disgusting. I can look upon lovely, big-eyed children covered in blood or encountering slabs of bloody meat and enjoy them for the absolute beauty in the image, for Ryden’s paintings are always lovely. They are always sumptuous, in colors that are so vivid that they almost evoke the sense of taste for me. This is interesting to me because even though much of Ryden’s work is associated with blood and meat, the bright pinks and various pastels evoke old fashioned, boiled-sugar candy. Taffy. Cotton candy. Not fetid, iron stink of meat. For whatever reason, I don’t experience the loss of innocence the way that I suspect others do when I look at Ryden’s work. (You see the intense use of pastels most especially in Ryden’s The Meat Show collection.)
Blood is a tiny book, a fitting size because the paintings are all miniatures, and I selected it to discuss during my Halloween post-a-thon because this book contains an explanation for why Ryden engages in such morbidity, almost a defensive apology for what makes him tick and his explanations, in the introduction as well as a quote later in the book, show in action one of the warnings I often give writers: once you create, the creation is out of your hands and you have no control over what your work will mean to others. By his own words, Ryden would likely find my inability to find his works alarming, especially those in Blood, somewhat alarming itself. Ryden says:
Blood is very powerful. While meat is the substance that keeps our living souls in this physical reality, blood keeps our meat alive. Blood is liquid life. When blood escapes our bodies we are alarmed to the very core of our brains. It is life leaking out of us. It is frightening and makes red a profoundly intense color.
It is here that I think shows the chasm between Ryden’s intent and my experience with his work. If blood is liquid life, seeing children interacting with blood is alarming but it is also a transformative experience. But girls are used to blood in a way boys aren’t. We literally see our blood escaping our body several days each month. It’s less a loss of innocence than a symbol of coming-of-age. There are biblical instructions about the corruptibility and disgusting nature of menstrual blood but for many women seeing blood outside the body is not alarming and when it happens it is simply a sign of growing up. Perhaps this is why I am not appalled by the loss of innocence seen in the paintings in this collection. Blood is liquid life, but in some respects blood is a liquid proving-ground, a symbol of a trial endured, of obtaining a certain type of wisdom. Sometimes the wisdom that comes from corruption is more valuable than white, unblemished inexperience.
You can read my entire discussion here: http://www.oddthingsconsidered.com/blood-by-mark-ryden/ ( )