![]() Untitled drove its own little culvert pipe through me, so that I could be a conduit too. A body – and soul – can be experienced in parts, and then recovered as whole. Priest-iconographer comes to Livonia to teach the art, prayer of icon-making. From a modest walk-up apartment in Zahle, Lebanon, a city not far from the Syrian border, the Syriac Catholic iconographer and refugee creates his sacred art in a sparsely furnished living room. Winnicott’s term, creating a twilight space between personal psyche and shared reality. Lamb was a belligerent atheist who was mistrustful of the Church and organised religion, considering it to be a front for self-righteousness. These are transitional objects, to use D.W. Yet, the presence of a watery, hopeful space that twinkles and splashes always offers the chance for repair. The holes in my body and soul are different. ![]() Read through the concerns of Gober – a gay, former-Catholic artist, living through the AIDS crisis in America – the work expresses very particular forms of eroticism, anger, grief and hope. They not only tattoo saints and Sacred Hearts, but also surround themselves with devotional stuff in their studios and homes in Rhode Island (Hannah) and New. Slide down the drain, or the sinkhole, and one finds some brightness, like love or hope, amongst the crabs, rocks and seaweed. Hannah Medeiros ( sadgirltattoos) and Pauly Lingerfelt ( paulylingerfelt) are tattoo artists known for their work with Catholic imagery and iconography. Also seen in the space below are the bare legs of a man standing in the water, who appears to be holding a baby, its tiny legs and feet dangling. Iconographer and refugee Serhii Kolodka’s studio at Holy Eucharist Ukrainian Catholic Cathedral in New Westminster, British Columbia, Canada, is standing room only. Every object in the space stands on a drain cover, through which one can glimpse the subterranean rock pool beneath, scattered with wishful coins. To her sides are two open leather suitcases while, behind her, water rushes down a wooden staircase from a doorway above, flooding a pool underneath the exhibition space. To me, it offers a particular emotional experience – something like joyful grief – that I’ve wanted to return to many times since I first saw the work in 2007.Ī concrete cast of a life-sized Virgin Mary, her arms benevolently outstretched, presides at the centre of a large grey room, with a large culvert pipe thrust violently through her middle. Untitled (1995-97) is a complex, major installation that was first exhibited at the Museum of Contemporary Art in Los Angeles in 1997, and is now permanently installed at the Schaulager in Basel. That is to say, a special kind of enthusiasm. Concurrent with developing Protestant theologies of sacred icons Catholics. There’s a special hole in my heart for Robert Gober’s work. because Catholic Reformers, including Robert Bellarmine, were conscious of those. Courtesy: the artist and Schaulager, Basel photograph: Tom Bisig Robert Gober, Untitled, 1995-97, installation view at Schaulager, Basel. Part of frieze magazine’s 200th issue.
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