Nocturnal Journey.

«Grotesque / Falling down the Rabbit Hole», oil on canvas, 50 x 50 cm., 2021.


«Grotesque», oil on canvas, 50 x 50 cm., 2021.

“Grotesque” is an architectural painting, depicting an abandoned villa in ruins. The painting derives its title from the terracotta grotesque on the facade of the building, which is a miniature self-portrait of The Dreamer. Underneath the grotesque of the sleeping dreamer is the inscription «Domus Somnia». This painting is about a nocturnal journey where the dreamer, who has been out walking about, suddenly comes upon an inviting and dilapidated villa — empty and door-less. As in many dreams, the structure is both familiar and not to the dreamer. Here, there is a head-on frontal perspective which is at once both two and three dimensional, and almost cardboard-like, thus accentuating the fragility of this mental architectural construction — which can change or disappear in a fleeting second. Even though the columns and steps at the entrance show signs of a dizzying slight sway forewarning collapse, the Dreamer cannot resist entering through the dark portal — unwitting that he is soon to fall into a bottomless void of Darkness. Should the dreamer allow the building to collapse before entering and rather move on to another dream sequence in this nocturnal journey, or should he play out his role as The Fool and hope that he can wake himself up when necessary?


Nocturnal Journey.

In the twenty-fifth hour,
as sleeplessness concedes
to Jungian twilight,
the inviolate ticking
of the bedside clock
betrays consciousness
with sinister rhythm.

It is a requiem of
abandonment, whereby
unprotected souls are
magically ushered to
the threshold of time’s end.

Clock hands melt into
surreal images of groping,
disembodied appendages which
pull me down into the
infernal swirling oblivion.

I seem to fall forever;
plummeting past floating
sandstone ruins, through
prehistoric jungles and
at last into a vast galaxy
of translucent emerald shards.

The heartbeats of innumerable
still-terrified predecessors
urge me to scream before
striking bottom, and I
awaken in a panic: grasping
for the luminous dial
of my unwitting timepiece.

— Adam Donaldson Powell, “Collected poems and stories”, Cyberwit, 2005.

Breaking through.

«Breaking through», oil on canvas, 50 x 50 cm., 2021.



“Breaking through”, oil on canvas, 50 x 50 cm., 2021, is a two-sided black-and-white minimalistic self-portrait about breaking through the barrier of White Supremacy. The white barrier seems impenetrable and all-consuming, and the only ticket is convincing Supremacists that non-Whites are enough like them to warrant acceptance. But acceptance is neither a given, nor guaranteed to last. Like with immigrants in a new country, being accepted as “one of us” is a constant battle — often stretching over several generations. Non-Whites will never be Caucasian, no matter how much we try to pass as white. Thus, Non-Whites must learn “grayness”, as bleaching our skin and talking like a native does not remove one’s Blackness, Latino-ish, or Asian-ish. Therefore the self-portrait is in gray tones. But when breaking through we must carry our Blackness with us, and thus we must also break through the stereotypes and xenophobia used against us.



Photo Booth … look inside of yourself.

Painting: Oil on canvas. “Photo booth”, 90 x 65 cm., oil on canvas is about the “old-style” selfie-taking … sitting in a photo booth and being photographed three times. I have attempted to duplicate the feeling of taking photos in a booth — all the same, yet slightly different — in order to capture the spontaneity, subjectivity and self-appraisal of The Moment. I also wanted to play with “graphics” in a painterly and semi-realistic way that explores the nakedNess of the experience of being trapped in a box, with little room or time to vary sitting position and expression.




The dark one
Lurks not in
The shadows,
And not amongst
Your friends
Or enemies.
Beware, for
His evil lies
Within you,
And eagerly
Awaits release
By descendents
Of Pandora.
Beware of
The road to
Inertia and ruin,
So carelessly
Littered with
Temptation and
The self-centered
And worshippers
Of false splendor
Can expect
Little more than
Yes. Beware
Of darkness ..
And beware
Of mirrors …
But most of all
Of the devil
That you are.

(Copyright Adam Donaldson Powell, excerpted from “The Magical Tarot”, “Collected poems and stories”, 2005.)


El Oscuro
no reside en las sombras,
ni entre tus amigos
o enemigos.
Sus mentiras malvadas
cerca de ti,
esperan a ser liberadas
por los descendientes de
Con no caer en el
camino hacia la inercia
y la ruindad,
O a ser atacado brutalmente
por la tentación y la
Los egoístas
y los adoradores
de falsos esplendores
pueden esperar
poco más que
Sí, hay que tener ojo
ante la oscuridad …
Y ojo con los
espejos …
Pero más que nada
Con el demonio
que eres tú.

(Copyright Adam Donaldson Powell, “Three-legged Waltz”, 2006, trad. de María Cristina Azcona, Argentina)


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic


Still photo from Marina Abramovic’s film “The Scream”, republished with permission from Ekebergparken’s Scream Prosjekt / Marina Abramovic