When artists strive to make things new, we can not and should not
completely remove ourselves from the past or tradition. Often, the
sediments of the past lend more meanings and poignancy to our new
endeavors, or our new interpretations.
One of the greatest living artists Anselm Kiefer, is such an example
who is steeped in tradition, and I was often moved by the historical
resonances he brought forth to his monumental paintings, often through
motifs connecting the past to the present, or the future. One of his
striking paintings can be seen in
SFMOMA,
Unternehmen Seelöwe (Operation Sea Lion),
placed a tin bathtub in a desolate field, containing several
battleships. According to a curator, the manufacturer of those domestic
bathtubs, was also manufacturer of weapons used in WWII by the Nazi
armies. Such deft reference was a master stroke of Kiefer’s.
That painting, particularly its intriguing bathtub, left a strong
impression on me, and it compelled me to record my understanding and
imagination grew out of Kiefer’s motif, and led to a painting which I
simply named as
Anselm Kiefer’s Bathtubs, which was populated
with several of such bathtubs in various planes and angles, as if
floating on an open sea or in the space. Inside the central tub, a
lonely-looking naked man hunched over and hugged his knees. The occupied
bathtub, though surrounded by its “peers”, who were obviously in
disagreement with one another, and rendered its lone occupier quite
isolated and vulnerable.
Anselm Kiefer's Bathtubs
22” x 28”
Oil on Canvas
Completed in 2018
Such painting is also my tribute to a leading artist of our time.
Posts
