Lady in Waiting , 2019
78 x 56 x 6 in (h x w x d)
25000 USD
Oil on canvas over sculpted foam, copper
for sale

“Lady in Waiting” is the muse of course. By that I mean, the presentation relies on the general map of a woman’s physical anatomy, totally impersonal, something which we know in a generic sense, she is no one in particular. No culture, race or political agenda or philosophy…only gender. The geometric forms, substitute her body parts and copper hair with abstract shapes, not realistically fashioned, lacking details of identity; not a specific person. Yet the structural architecture of feminine form prevails. It is an armature to compose a color and textural composition, to which I gave my full energy for three months in 2018.
The muse in the artistic context provides the possibility of much more in meaning, much less in identity. The power of symbolism replaces the power of ideological reason. Often one hears spoken; “what women want” or “what women think”. These statements always impress me as presumptuous. In symbolic presentation, the physical muse has a chance to get closer to woman.
Her existential being is presented as structure and Art. She is not illustrated, photogenic or nuanced. This image is not indebted to reality.
Further emphasizing her as symbol, the physically deepest and darkest part of this picture, closest to the unconscious, is her face...and it is absent. The absent face emphasizes the depth of the unconscious.. as most significant.Thus rendering the usual facial glamour of as irrelevant.
Her gesture is of course one of fixing her reddish mane (cut copper pate). I prefer a simple unpretentious act of self-maintenance, as it refers to herself, not a watching world.
The composition is two stacked rectangles. The lower has the back leg cutting diagonally through, upward (with elbow on knee) the upper rectangle, has the head and neck moving diagonally through upward in parallel,to aforementioned leg in bottom rectangle.
Finally the tittle: The initial oil sketch on canvas, the zinc yellow ground, tumbled through my life (studio) for ten years. I glanced or studied the canvas on a constant basis over that period. Finally, I formulated a strategy as to how I might proceed this year.

Autres œuvres de Robert Mango

Afghan Horsemen , 1987
65 x 43 in (h x w)
Oil on canvas
KTC Affiliated Artists
Krishna Passing the Wheel of Fortune , 1993
46 x 34 in (h x w)
Oil on canvas, mixed media
KTC Affiliated Artists
Discovering the Dead Sea Scrolls , 1994
78 x 50 in (h x w)
Oil on canvas
KTC Affiliated Artists
Tears for the City , 1989
45 x 58 in (h x w)
Oil on canvas
KTC Affiliated Artists
Woodland Deity , 1995
50 x 60 in (h x w)
Oil on canvas
KTC Affiliated Artists

Plus de Cross Contemporary Projects

Kaethe Kauffman , 2023
8.5 x 83 in (h x w)
Cross Contemporary Projects
Trees 2 Blue , 2023
28 x 22 x 1 in (h x w x d)
ink on paper
Cross Contemporary Projects
Triangle Rose , 2023
28 x 20 x 1 in (h x w x d)
ink on paper
Cross Contemporary Projects
Teepee Ochre Blue , 2023
28 x 21 x 1 in (h x w x d)
ink on paper
Cross Contemporary Projects
Cliff , 2023
20 x 19.5 in (h x w)
ink on paper
Cross Contemporary Projects