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This past April, I announced with some fanfare (or at least with bold letters) that Ferrebeekeeper was going to expand to feature a digital gallery of my paintings and other artworks.  In retrospect, perhaps I should not have made that statement on April Fool’s Day (although that is the day I started blogging).  Circumstances have indeed made a fool of me, and my projected site expansion has been delayed again and again. More than a season has gone by and still there is no art gallery.  Fortunately, I am now confident that my gallery launch really is just around the corner! To give you a little teaser until the final version is launched, here are two of my miniature allegorical paintings from a series which I started more than a year ago.

Donut Universe with Centaur and Mummy (Wayne Ferrebee, 2010, oil on panel)

 

Torus with Spearman, Bagpipes and Barnacle (Wayne Ferrebee, 2011, oil on panel)

Here’s the story behind the genesis of these works: when I was cleaning my pockets before doing a load of laundry I found a sketch of a centaur, a clock, and a snail trapped in a miniature torus-shaped universe.  Although I’m not sure what prompted that initial sketch, I have since made several tiny paintings based around toruses which, as explained here are elegant metaphors for insular universes.  Indeed some cosmologists and topologists feel that the actual universe might well be torus-shaped (or more precisely, shaped like a triple torus) an idea which appeals to my inner gourmand. The paintings are obviously echoes of each other.  Both feature huge predatory animals lurking under pastries floating in outer space.  The splendid toadfish (Sanopus splendidus) in the first painting and the gharial (Gavialis gangeticus) in the second are even facing the same way as if both waiting in ambush. Each panel also has an invertebrate, a galactic backdrop, and ancient beings brandishing hand weapons.  However the cast and the props are quite different–a bold Assyrian warrior takes the place of the desiccated mummy while the gothic clock sunk in icing is replaced by a mournful bagpipe floating in space.  A yellow lipped sea krait seems intent on escaping the entire scene.

What does all of this mean?  Well, as Socrates surmised, artists don’t know what their works mean. Like everyone else we have to guess, but the reoccurrence of similar roles in the two paintings—even as the setting and the circumstances change–suggest to me the circular nature of interaction between living things.  This theme is highlighted by the circular nature of the main subject, the torus. And of course there is something obviously and purposefully missing from both paintings, a physical and metaphysical emptiness exemplified by the famous hole in the donut, and the void of the universe. Whether this additionally reflects the hunger of the animals, the soundlessness of the bagpipe, the lifelessness of the mummy, and the timelessness of the stopped clock is an open question.

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