SavePromise of Pan right
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| Year of creation | 2018 |
|---|---|
| Dimensions | 92.5 W × 160 H × 4 D cm |
| Type of art | painting |
| Style | figurative |
| Genre | genre |
| Materials | acrylic, canvas |
Description of the Artwork “Promise of Pan right”
This work is the right piece of Triptych “Promise of Pan”, inspired from photographs I took working with newly arrived war-refugee children, of an Iraqi war-refugee boy that arrived in Sweden and the difficulty of integrating into a new culture. His naked/nudity reflect vulnerability, frustration and lost innocence. Worked in charcoal, shadowed, the earthy rawness, expressing exploitive nudity, acrylic and light pastel background colouring juxtapose their grim existence, divided by the thin red line of truth, the need/lack of true initiation. The Iraqi boy turned, open faced, found the golden key and mounted penis sheath, initiated scream, he’s shadow still armed promise of manhood, as one foot dipped into walled in community blood-bath, the ants move beneath the door transformed into grave, framed by thin red line of truth, the wall light mounted high… warning, boys of false prophesy…
Marius van Niekerk, Portugal
Marius is an artist working in the film & arts industry as writer, director, producer, cinematographer and visual-painting artist, worked as trauma-art counsellor/facilitator, with war refugees/veterans families, lecturer and published the autobiographic book “BEHIND THE LINES OF THE MIND-healing the mental scars of war” in 2009. "My work often inspired by childhood and war experience, centres around a central theme “the human dilemma/human stain”. Strained compositions of abstract-expressionistic, sometimes more figurative images driven vividly, suggest the burden of violence, a search for identity and initiation, the strain of paint on untreated canvas and raw paper, in a bright pallet of sometimes runny, distorted forms and colours layered, contrasted with sometimes straight, more harmonious forms and colours, reinforced by a powerful image-message and misplaced energy. I sometimes use my films and photographs to drive further video-images in dark room projections, in combination with supporting painting and sound, isolated, binding close-up-feeling-seeing-experience”… We, as artist must, a mirror to society, have a responsibility, in all we do, to constantly work against oppression, discrimination and war.