Angels - A Lógica da Sensaçáo

Francis Bacon's painting is of a very special violence. Bacon,
to be sure, often traffics in the violence of a depicted scene:
spectacles of horror, crucifixions, prostheses and mutilations,
monsters. But these are overly facile detours, detours that
the artist himself judges severely and condemns in his work.
What directly interests him is a violence that is involved
only with color and line: the violence of a sensation (and not
of a representation), a static or potential violence, a violence
of reaction and expression. For example, a sen-am rent from
us by a foreboding of invisible forces: "to paint the scream
more than the horror . . . " In the end, Bacon's Figures are
not racked liodies at all, but ordinary bodies in ordinary
situations of constraint and discomfort. A man ordered to sit
still lor hours on a narrow stool is bound to assume
contorted postures. The violence of a hiccup, of the urge to
vomit, but also of a hysterical, involuntary smile
Bacon's bodies, heads, Figures are made of flesh, and what
fascinates him are the invisible forces that model flesh or
shake it. This is the relationship not of form and matter, but
of materials and forces making these forces visible through
their effects on the flesh. There is, before anything else, a
force of inertia that is of the flesh itself: with Bacon, the flesh.
x
Author's Preface to the English Edition

however linn, descends from the bones; ii (ails or tends i
fail away from them (hence those flattened sleepers who
keep one arm raised, or the raised thighs from which the
flesh seems to cascade). What fascinates Bacon is not
movement, but its effect on an immobile body: heads
whipped by the wind or deformed by an aspiration, but also
all the interior forces that climb through the flesh. To make
the spasm visible. The entire body becomes plexus. If there
is feeling in Bacon, it is not a taste for horror, it is pity, an
intense pity: pity lor the flesh, including the flesh of dead
animals
There is another clement in Bacon's painting: the large
fields of color on which the Figure detaches itself - fields
without depth, or with only the kind (A' shallow depth that
characterizes post-cubism. These large shores arc themselves
divided into sections, or crossed by tubes or very thin
rails, or sliced by a band or largish stripe. They form an
armature, a bone structure. Sometimes they are like a
ship's rigging, suspended in the sky of the field of color,
upon which the Figure executes its taunting acrobatics.
These two pictorial elements do not remain indifferent
to one another, but instead draw life from one another. It
often seems that the flat fields of color curl around the
Figure, together constituting a shallow depth, forming a
hollow volume, determining a curve, an isolating track or
ring at the core of which the Figure enacts its small feats
vomiting in a sink, shutting the door with the tip of" its
foot, twisting itself on a stool). This kind of situation finds
its equivalent only in theater, or in a Beckett novel such
as Le De'peupleur "inside a flattened cylinder The
light . . . . Its yellowness"2 or else it is found in visions of
bodies plunging in a black tunnel [44 j. But if these fields

Angels

Youposter Neomannn
(4º movimento)
Triha sonora original criada criada por Edward Armache

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• arte digital
• digital art
• neomannn
• youposter
• edward armache
• angels
• Digital Art Paint Artist
• the logic of sensation
• Arte
• digital flesh