Golden Ages, Compressed

A seemingly realistic world is transformed into an ideal reality through conflicting elements such as scale, geographical relationships, and distinctions between parts of the image – ‘default faults.’ Various landscapes are combined, juxtaposed, or infiltrate each other’s spaces. ‘One knows they are there.’

The Golden Age painters asserted that in paintings, landscapes are without flaws and imperfections – a moulded clay pot should look as it does in heaven. They typically used widescreen formats in modest sizes, ranging from widescreen to portrait, including some very large pieces. All paintings are framed.

The paintings are viewed through an ‘ideal figure.’ He is the fool living in fool’s landscapes, a gladiator, a victim, the innocent savage – meant to appeal to, or evoke, the curiosity that made visitors to Bedlam stare. Many artists know him. He must be recognized and acknowledged, having his own land that is both grand, small, and filled with details.

We see through his eyes. The project becomes a kind of ‘focused overview’ with ‘checked flaws and imperfections.’

Bodil Brems