Creation : Science
2007
Installation @ Allston Skirt Gallery
Creation : Science
June 1=30, 2007
And the heaven and the earth were finished, and all the host of them. (Genesis 2: 1)
Roberta Paul contemplates the complex relationships between empirical science and religious faith in her latest body of worksjuxtaposing Masaccio ls iconic image, the Expulsion of Adam and Eve from Paradise, with conceptual maps of the heavens. The central image of Paul's new work, Creation : Science, is a monumental gouache and latex on paper diptych which combines a scaled-up 'linear rendering of a mourning and protesting Adam and Eve based on the early Renaissance master's Brancacci Chapel fresco—arguably the supreme interpretation of the tragic scene of Man's fall—with an abstract portrait of a modern constellation, not coincidentally chosen, called Serpens Caput (Serpent's Head). The Expulsion, for Pauli" is a metaphor for the burdens of the human condition and marks the journey of man and woman, now seekers of knowledge, forever crossing new horizons." Her skillful appropriation of Masaccio's (C. 1427) masterpiecej which Paul titled Expulsion November 12, 3761 BCE (the 'exact' date of the Fall of Man) leaves out Masaccio's sword carrying angel hovering above a rudimentary portal and replaces the barren world outside of Eden with cosmic star maps based on a Biblical scholar s chronology of the Expulsion.
Excerpt from an essay by Francine Koslow Miller
June 1=30, 2007
And the heaven and the earth were finished, and all the host of them. (Genesis 2: 1)
Roberta Paul contemplates the complex relationships between empirical science and religious faith in her latest body of worksjuxtaposing Masaccio ls iconic image, the Expulsion of Adam and Eve from Paradise, with conceptual maps of the heavens. The central image of Paul's new work, Creation : Science, is a monumental gouache and latex on paper diptych which combines a scaled-up 'linear rendering of a mourning and protesting Adam and Eve based on the early Renaissance master's Brancacci Chapel fresco—arguably the supreme interpretation of the tragic scene of Man's fall—with an abstract portrait of a modern constellation, not coincidentally chosen, called Serpens Caput (Serpent's Head). The Expulsion, for Pauli" is a metaphor for the burdens of the human condition and marks the journey of man and woman, now seekers of knowledge, forever crossing new horizons." Her skillful appropriation of Masaccio's (C. 1427) masterpiecej which Paul titled Expulsion November 12, 3761 BCE (the 'exact' date of the Fall of Man) leaves out Masaccio's sword carrying angel hovering above a rudimentary portal and replaces the barren world outside of Eden with cosmic star maps based on a Biblical scholar s chronology of the Expulsion.
Excerpt from an essay by Francine Koslow Miller
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