This little square painting used to house just a solitary man squatting on the floor and looking out at the viewer with a quizzical expression. His home was a mass of wild and wooly red lines. The painting was originally completed for the poem, The Red Thread, from my poetry book manuscript recently given the new title of A Rendering of Soliloquies. (The new title seems to lend itself to typos so I have some minor regrets about this update. It almost went off to the last publisher with a glaring spelling mistake right there front and center in the title - not the best way to make a first impression).My second update was in the painting itself. With the addition of a chair, the painting will now serve a double duty. The chair entered because this will now be used for the upcoming exhibition in Spartanburg in January 2020: A Seat at the Table: The Chair as Aesthetic and Social Construct.
This particular chair was patterned after a late eighteenth century mahogany American armchair that I had sketched from life at the National Gallery. Including this chair from the days of our founding fathers served as a good contrast, with its orderly, rational and upright form, to the chaos of swirling red lines in the squatting man’s environment.
Early American chairs had symmetrical structures formed around a centerpiece called a spat. The spat was carved into decorative designs that often depicted charming and harmonious musical instruments like harps or lyres. For this chair I made a design where the spat should be that is in the shape of an American dollar sign. This dollar sign crept into the work as a product of present concerns and recent reading.


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