Genesis 3: 6-10

When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it. Then the eyes of both of them were opened, and they realized they were naked; so they sewed fig leaves together and made coverings for themselves.

Then the man and his wife heard the sound of the Lord God as he was walking in the garden in the cool of the day, and they hid from the Lord God among the trees of the garden. But the Lord God called to the man, “Where are you?”

10 He answered, “I heard you in the garden, and I was afraid because I was naked; so I hid.”

The biblical narrative surrounding my chosen piece ‘Eve’ by Auguste Rodin, is an integral part of the reading of the piece, this passage from Genesis, the first book of the Bible, has been a significant reference point when exploring the context of the sculpture. Although this piece resonates with me from a place of personal belief, I do not necessarily wish to take the biblical narrative as my sole focus. I want to explore the idea of Eve as an embodiment of the rejection of God, and perhaps in modern, secular context as the rejection of the entire notion of God – particularly focusing on the idea of how the rejection of an overarching ‘grand’ narrative opens up the question ‘Where do I find meaning and purpose in life?’. I am interested in exploring the narratives that people adopt to make sense of the ‘chaos of life’, and how people frame existence to understand it –  particularly perhaps examining the more extreme narratives and obsessions that people find meaning in.

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Eve – Auguste Rodin

I have been experimenting with the use of organic, instinctive and free mark making contrasted with controlled, linear framing. I am especially interested in the idea of the ‘frame’ as a way of exploring the notion of narrative.Exploring the tension and contrast between the marks, as a sort of metaphor for life and the narrative we attach to it. Its been interesting to consider how to translate my conceptual intentions into a visual language, and I’ve been interested in using abstract forms to first broach this.

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