Straight to Hell — Mapplethorpe in triptych.

“Straight to Hell” — Mapplethorpe in triptych, oil on canvas, 2018.

STRAIGHT TO HELL — MAPPLETHORPE IN TRIPTYCH.

I decided that it was best to depict Mapplethorpe in an Expressionist style – and almost like a charcoal and chalk painting. This because the style fits the era when he was growing up, but also to convey technique-wise the brutal simplicity of his art photography. His photographic portraits were perhaps designed to challenge the traditional “high art” status dominance of painted portraits. Mapplethorpe is often quoted as having said: “People don’t have time to wait for somebody to paint their portraits anymore. The money is in photography”. The wisdom of my choice of painting style is perhaps most apparent in the center panel, which deals with his internal perceptions of himself, and where the spectator’s eye goes straight to the majestic Cala Lily – The flower of Death – of which Mapplethorpe was so keen. The contrast provided by  the single flower that is so calm and majestic is so powerful that the drama of the expressionist style is immediately reset — in a single glance. This artwork is rife with symbolism. The panels are meant to recall gay jerk-off magazines from the ’50s and ’60s, and thus the reference to “la main gauche” (the left hand). Mapplethorpe created magnificent classy/artistic porn: sexually provocative, statuesque bodybuilders (predominant in the gay mags of his era), celebrity porn (the masturbation of striving for fame in one’s own lifetime and beyond), sensual portraits of flowers etc.

 

 

This slideshow requires JavaScript.

“Straight to Hell — Mapplethorpe in triptych” – Adam Donaldson Powell, oil on canvas, 2018. Keywords: Mapplethorpe, tabloid (lurid, sensational) art, guns as penises, penises as guns, splattered blood, blood stains, sex, AIDS, crosses, Calla lily (flower of Death), sado-masochism, fetish, narcissism, pecs and nipples, the body as a living sculpture, perfection vs. the glory of the imperfect, Don Herron’s iconic Tubshot photo. Each panel measures 40 x 50 cm.

NB. Yes, I address Mapplethorpe’s obsession with Black men and their bodies / genitals by featuring Mapplethorpe himself in mirror image — as both Caucasian and Negroid. In this way his desire to completely embody and define ultimate personification of sexuality will finally be complete. The iconic Don Herron Tubshots photo of Mapplethorpe was chosen as my model because I actually met Mapplethorpe at his loft when Don and I delivered the photograph to him. This triptych is my “tribute” to both Don Herron and Robert Mapplethorpe.

 

Robert Mapplethorpe, photographed by Don Herron

Don Herron’s portrait of Robert Mapplethorpe.

 

Read Jack Fritscher’s great article about Mapplethorpe (his lover and friend)
HERE!

Read more HERE!

My favourite Robert Mapplethorpe quotes:

“I want to see the Devil in us all. That’s my real turn on.”

“The whole point of being an artist is to learn about yourself. The photographs, I think, are less important than the life that one is leading.”

“Art is an accurate statement of the time in which it is made.”

“I’m looking for things I’ve never seen before. But I have trouble with the word ‘shocking’ because I’m not really shocked by anything…Basically, I’m selfish. I did [those photos] for myself— because I wanted to do them, because I wanted to see them. I wasn’t trying to educate anyone. I was interested in examining my own reactions.”

“Beauty and the devil are the same thing.”

“I am obsessed with beauty. I want everything to be perfect, and of course it isn’t. And that’s a tough place to be because you’re never satisfied.”

“When I work, and in my art, I hold hands with God.”

“To make pictures big is to make them more powerful.”

“This AIDS stuff is pretty scary. I hope I don’t get it.”

“People don’t have time to wait for somebody to paint their portraits anymore. The money is in photography

“My father wants me to be like my brother, but I can’t be.”

“If I have to change my lifestyle, I don’t want to live.”

“I would never have done what I’d done if I’d considered my father as somebody I wanted to please.”

“I just hope I can live long enough to see the fame.”

“I stand naked when I draw. God holds my hand and we sing together.”

***************************************************************************************

“Artistic perfection includes planned imperfection”.
— Adam Donaldson Powell

Photo: Francis Bacon’s artist studio, National Gallery of Dublin, Ireland.

Spleen, and other painted tales of pain, sorrow and depression.

Spleen, 30×30 cm., oil on canvas..

 

“Tears flowing while walking through the city”, oil on canvas, 40 x 40 cm.

 

Tears flowing while walking through the forest, oil on canvas, 40 x 40 cm.

 

“The many faces of depression”, oil on canvas, 40 x 40 cm.

 

Toxique / Toxic
“Toxique / Toxic”, 40×40 cm., oil on canvas, is an abstract painting which uses colourfield and geometric styles to induce feelings of the “disgusting” which is beautiful. Here “the disgusting” is created by color combinations and the dizziness of the geometric images seemingly twirling about in atmospheric bile. The painting gives a sense of elegance in its overall balance and technical precision, while at the same time requiring quiet acceptance of discomfort.

 

“J’en ai rien à branler/I don’t give a fuck! no. 9, Pissing on our parade”, 15×15 cm, oil on canvas, 2018. “Pissing on our parade”, is a commentary on gay violence — i.e. violence, murder and terror committed both by and against gays. LGBTQ-persons are “people”, and prone to the same problems and personality issues as all others in society. However, whenever an LGBTQ-person commits an act of terror (Orlando), sexual violence and harassment (by the way, these harassments are seldom investigated as #metoo, or even hate crimes), murder plus cannibalism, or other acts that feel like a violation of what many consider to be basic humane and civilised values, it feels as embarrassing to me as a gay person as muslims must feel when yet another act of hate-inspired terrorism is committed in the name of Islam. It is also embarrassing to me as a human and as a soul in active incarnation. These individuals — regardless of whether they are disturbed, or just hateful — are pissing on our parade. Keywords: pissing, parade, #stopthebleeding, wounded hearts, rainbow, #stopthehate. This painting is part of a series of miniature abstract oil paintings made in 2018 — this series is about feigning indifference in a crazy and brutal world.

 

Love illusion, 65×90 cm., oil on canvas.

 

Le jeune homme et la mort, 90×65 cm., oil on canvas.

 

Vertigo, 40×40 cm., oil on canvas.

 

Roses and a teardrop for Las Ramblas, 15×15 cm, oil on canvas, 2017. This miniature abstract painting was inspired by the terror attack upon the people at Las Ramblas in Barcelona. It depicts a rose-floral wallpaper-like background with a line/queue that is broken — interrupted by a single teardrop.

 

Ground Zero, the day after 9/11, 62×50 cm., oil on canvas.

 

the devil comes at nighttime

The devil comes at nighttime, 50×50 cm., oil on canvas.

 

“A Wrist Cutter’s Glow”, oil on canvas, 50 x 50 cm.

 

High on the red pills (30×30 cm., Oil on canvas).

 

High on the blue pills (30×30 cm., Oil on canvas).

 

The decay of society (100×100 cm., Oil on canvas).

 

“Faceless animus” (65×90 cm., oil on canvas) asks us who much we really know another person, and how much we really want to know — the stereotypical or racial countenance … or the faceless animus that lies behind it?

 

“Hope”, oil on canvas, 50×50 cm.

 

 

 

Revisiting “Le jeune homme et la mort”.

“Le jeune homme et La Mort”, 65×90 cm., installation de peinture: huile sur toile et filet de camouflage, Adam Donaldson Powell, 2017.

L’histoire chorégraphique :

THE YOUNG MAN AND DEATH.

Redefining Cocteau’s interpretation of “The young man and death”:
My painting — entitled “The young man and death” – represents a violent and hazardous order; whitewashed mental chaos with the conviction of purification and with cutting knife marks of self-harm … and swirling depression with so many overwhelming rhythmic atonalites that the blue electricity of pulses and currents are stifled by a huge blanketing whiteness that gives a general impression of calm and control – as long as we follow each breath religiously. It is an atmosphere of violent beauty; the inner environment that cleanses and consumes all the perceptions of the outside world which drives us to the ultimate act of correction and glory: suicide. The whiteness of depression is the light at the end of the tunnel of death – promise of rebirth, new virginity and ultimate seduction. The thick slabs of paint represent the mud walls we erect to keep ourselves safe in our cocoons – in our fortress. Depression does not concern sadness, but rather the construction of our castle in heaven, where our indifference to success and failure can finally flourish. Nirvana. Here, death is not a woman, but the young man’s own psyche. The misogynistic vision of Cocteau will be whitewashed and exposed as a void that disguises itself as male self-victimization. Once the many layers of oil paint are completely dry, I will cover the minimalist painting with camouflage netting, this in order to force the viewer to want to look at the discomfort in the pictures. To look under the veil and then to identify oneself sufficiently in the Mind to be able to look for the veil of Emptiness that is under the veil. Of course, no one really wants to know about another person’s depression – especially if they are suicidal. We are all fighting the same depression and nothingness. It’s only a thought away. The result will be a two-dimensional sculpture painting.

Jean Maurice Eugene Clement Cocteau was very talented, very brave, very “gay”, very famous … and very misogynistic. Only the unfortunate or idiots would be stupid enough to try to make him angry.

“The young man and death In a workshop, a young man alone is waiting. In comes the girl who was the cause of his distress. He rushes towards her, she pushes him away, he begs her, she insults him, scoffs at him and tells him to go hang himself. He hangs himself. Only the body of the hanged man remains. Through the roofs, death then returns in a prom dress. She takes off her mask: it’s the girl. So she puts her mask on the face of her victim. Together, they go through the roofs.
— Jean Cocteau”

More than seventy years have passed since this work had its world premiere. And the idea still haunts me. The story is too thin … a cheap shot designed to shock. The cheating woman has the coldness of a man, and the desperate man (the cuckold) hang himself as the woman demands. The irony is that a number of men today commit suicide after their wife’s infidelity or divorce. But what else is behind this suicide? Surely there are problems of depression and relationship within man before this development? Was the woman really responsible for his death? Is the infidelity of another person really the cause of suicide – or is it just a symptom, the result of a long-standing illusion that can no longer be denied? Is not this another expression of misogyny in the age of Romanticism? And how can I recreate this story / painting – penetrating more into the young man’s psyche – far beyond this woman representing death, who can so easily be blamed?

It’s the same for both or all genders (there are more than two now). Because depression and suicide are taboo subjects, I want to force the public to commit to watching and walking inside the painting. These problems need to be normalized – like cancer and other syndromes and lifestyle diseases.

“It is important to understand and simply accept that all our past experiences, whether joyful or sad, continue to accompany us throughout our lives and greatly affect the way we feel today. Problems can only trigger feelings of insecurity, shame, envy or revenge if we deny that they are part of us. To be overwhelmed by such feelings in the most difficult situations requires us to recognize them and consciously integrate them as natural parts of our psyche. Only then will we be able to develop a loving acceptance of ourselves with all our flaws and shortcomings.” — from www. astro.com

As I always say, a lot of fiction is more factual than readers realize. Cocteau was very misogynistic and obsessed with wanting a son, and had great anger when the woman of his choice (Princess Natalie Paley) rejected him: he said that women were “the killers of poets’ children”, there had been many suicides in his life, and so on – all of which indicate his psychological problems at work in this story.

With Nureyev in the title role:

Read about Gustave Moreau’s painting “The Young Man and Death” HERE!

See several of Adam’s paintings on

SAATCHI ART

2389ECFE-7F46-4E2D-BD0E-23B579D37284

LE JEUNE HOMME ET LA MORT.

Redéfinir l’interprétation de Cocteau de «Le jeune homme et la mort»:
«Le jeune homme et la mort» – il représente un ordre violent et hasardeux; chaos mental blanchi à la chaux avec la conviction de purification et avec des marques d’automutilation … la dépression tourbillonnant avec des atonalites rythmiques tellement écrasante que l’électricité bleue des impulsions et des courants est étouffée par un énorme oreiller blanc qui donne une impression générale de calme et contrôle – tant que l’on suit religieusement chaque respiration. C’est une atmosphère de beauté violente; l’environnement intérieur qui lave et consume toutes les perceptions du monde extérieur, nous pousse à l’ultime acte de correction et de gloire: le suicide. La blancheur de la dépression est la lumière au bout du tunnel de la mort – promesse de renaissance, nouvelle virginité et ultime séduction. Les dalles épaisses de peinture représentent les murs de boue que nous érigeons pour nous garder en sécurité dans nos cocons – notre forteresse. La dépression ne concerne pas la tristesse, mais plutôt la construction de notre château dans les cieux, où notre indifférence au succès et à l’échec peut enfin s’épanouir. Nirvana. Ici, la mort n’est pas une femme, mais la propre psyché du jeune homme. La vision misogyne de Cocteau sera blanchie au néant, et exposée comme un vide qui se déguiserait en auto-victimisation masculine.

Une fois que les nombreuses couches de peinture à l’huile sont complètement sèches, je vais couvrir la peinture minimaliste avec filet de camouflage ; qui forceront le spectateur à vouloir regarder les désagréments dans les images. Regarder sous le voile et ensuite s’identifier suffisamment dans le Mental pour pouvoir chercher le voile de Vide qui est sous le voile. Bien sûr, personne ne veut vraiment connaître la dépression d’une autre personne – surtout s’il est suicidaire. Nous combattons tous la même dépression et le néant. C’est seulement une pensée loin. Le résultat sera une peinture de sculpture en deux dimensions.
Jean Maurice Eugène Clément Cocteau était très talentueux, très courageux, très “gay”, très célèbre … et très misogyne. Seuls les malheureux ou les idiots seraient heureux de le mettre en colère.

Le jeune homme et la mort

Dans un atelier, un jeune homme seul attend. Entre la jeune fille qui était cause de sa détresse. Il s’élance vers elle, elle le repousse, il la supplie, elle l’insulte, le bafoue et s’enfouit. Il se pend. La chambre s’envole. Ne reste que le corps du pendu. Par les toits, la mort arrive en robe de bal. Elle ôte son masque : c’est la jeune fille. Alors elle pose son masque sur le visage de sa victime. Ensemble, ils s’en vont par les toits.

— Jean Cocteau»

Plus de soixante-dix ans se sont écoulés depuis que ce travail a eu sa première mondiale. Et l’idée me hante toujours. L’histoire est trop mince … un cliché inverse conçu pour choquer. La femme qui triche a la froideur d’un homme, et l’homme désespéré (le cocu) se pendent comme la femme demande. L’ironie est qu’un certain nombre d’hommes aujourd’hui se suicident après l’infidélité ou le divorce de leur femme. Mais quoi d’autre est derrière ce suicide? Il y a sûrement des problèmes de dépression et de relation au sein de l’homme avant ce développement? La femme était-elle vraiment responsable de sa mort? L’infidélité d’une autre personne est-elle vraiment la cause du suicide – ou est-ce simplement un symptôme, le résultat d’une illusion de longue date qui ne peut plus être nié? N’est-ce pas une autre expression de la misogynie à l’époque du romantisme? Et comment puis-je recréer cette histoire / peinture – pénétrant davantage dans la psyché du jeune homme – bien au-delà de cette femme représentant la mort, qui peut si facilement être blâmée?

C’est la même chose pour les deux ou tous les sexes (il y en a plus de deux maintenant). Parce que la dépression et le suicide sont des sujets tabous, je veux forcer le public à s’engager à regarder et à marcher à l’intérieur du tableau. Ces problèmes doivent être normalisés – comme le cancer et d’autres syndromes et maladies de style de vie.

“Il est important de comprendre et d’accepter simplement que toutes nos expériences passées, qu’elles soient joyeuses ou tristes, continuent à nous accompagner tout au long de notre vie et affectent considérablement la façon dont nous nous sentons aujourd’hui. Les problèmes ne peuvent que déclencher des sentiments d’insécurité, de honte, d’envie ou de vengeance si nous nions qu’ils font partie de nous. Être submergé par de tels sentiments dans les situations les plus difficiles nous oblige à les reconnaître et à les intégrer consciemment en tant que parties naturelles de notre psyché. Ce n’est qu’alors que nous serons en mesure de développer une acceptation aimante de nous-mêmes avec tous nos défauts et insuffisances.”(astro.com)

Comme je le dis toujours, beaucoup de fiction est plus factuelle que ce que les lecteurs réalisent. Cocteau était très misogyne et sa fascination pour vouloir un fils, sa colère quand la femme de son choix (la princesse Natalie Paley) l’a rejeté: il a dit que les femmes étaient «les tueuses des enfants de poètes», les suicides dans sa vie, et ainsi de suite – indiquent ses problèmes psychologiques au travail dans cette histoire.

 

%d bloggers like this: