!["Saint This/Let Us Be Humble"](_files/opere/2017_103740_424948.jpg ""Saint This/Let Us Be Humble"")
"Saint This/Let Us Be Humble"
A self-portrait of character, rather than of form.
This painting stands as the record of an emotional milestone, as well as a tribute to the act of maturing. The subject is posed in a somewhat feminine, contracted manner, sidewise to the viewer as if un-engaged, unaware or shy, it resembles the male gazed upon portrayal of women in historical European paintings. His right hand against his chest presses his left peck in a vulnerable manner, in what seems to be a gesture of recognition of his own flesh and insecurities, yet his head faces forward, with eyes pierced firmly on the viewer, acknowledging full awareness of himself. A calm and defiant expression, that can be read as self acceptance of his state.
Two dead fishes and palm leaf hang from his left hand in the foreground, both reminiscences of the tropical warmth of South America, the hand holding them is clenched, as if not wanting to let go.
Positioned around the subject in a college-like manner there are two crosses mirroring each other from the left of the background to eye of the subject, a symbol of sin, pain and redemption. The rotten tooth hints to the physical discomfort of the subject.
At the top, the Roman numeral XXVII refers to the age of the subject as a carbon date, indifferent to actually date, which is irrelevant.
This painting stands as the record of an emotional milestone, as well as a tribute to the act of maturing. The subject is posed in a somewhat feminine, contracted manner, sidewise to the viewer as if un-engaged, unaware or shy, it resembles the male gazed upon portrayal of women in historical European paintings. His right hand against his chest presses his left peck in a vulnerable manner, in what seems to be a gesture of recognition of his own flesh and insecurities, yet his head faces forward, with eyes pierced firmly on the viewer, acknowledging full awareness of himself. A calm and defiant expression, that can be read as self acceptance of his state.
Two dead fishes and palm leaf hang from his left hand in the foreground, both reminiscences of the tropical warmth of South America, the hand holding them is clenched, as if not wanting to let go.
Positioned around the subject in a college-like manner there are two crosses mirroring each other from the left of the background to eye of the subject, a symbol of sin, pain and redemption. The rotten tooth hints to the physical discomfort of the subject.
At the top, the Roman numeral XXVII refers to the age of the subject as a carbon date, indifferent to actually date, which is irrelevant.
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