When an idea strikes, better to follow it out and spend the night in a jail cell, then to regret forgetting the idea in the first place.
That’s the main ideology behind these bad boys.
I wondered what would happen if I shadowed out the main abdomen and legs, but kept the so called ‘innocence’ of the twins. On one hand at a quick glance, it appears foreboding and sinister, but on the other hand once you’ve absorbed it into your retina, It becomes apparent that the light is being passed over the twins, highlighting them, bringing this phrase from the dusty corners of my mind - Without light, darkness grows.
Pretty cheesy, but it makes my think that the twins are to be savored and cherished whilst they’re still in the light, whilst we can still make them out, for what they are.
You can chase me down with torches and pitchforks later, for forcing this image into your brain. Speaking of brains, turning up the contrast within this image, really disguises the twins, making them look like -from my very short-sighted perspective- a fMRI - (Functional magnetic resonance imaging) a scan of the brain, for those not familiar with the term.
Again if you’re looking for the twins, you’ll find them,
The pixelated colours simplify it,making it less obvious. Sticking with the primary colours seemed like the lesser evil of the many colours that cropped up when I hiked up the contrast. Adding colour to this more chiaroscuro piece was a about as sane as drinking lead paint,
Whenever Shannon works with colour, it’s never a carefully mixed palette , it’s usually just one set colour of a medium, with another to compliment it as a startling contrast. So I thought to blatantly force colour onto this piece. There were other results in creating this monster, but they lacked a certain juxtaposition, that this screamed.
Turning the concept of adding to Shannon’s piece, on it’s head and taking away, was the brains behind this. Like a window in a house or a peephole in door. Take away the main ‘body’ of the piece and what’s left to see?
Now this may sound cannibalistic of me, but the piece has gone from twins in an open womb with maimed legs, to a roast leg of lamb, or a tasty joint of meat.
Meat on the bone.
It’s quite primal and brutal, but less morbid than it was before, I’d wager that it’s more natural, instinctive even. Images of primitive homo-sapiens crouching around fires,hunting animals for sustenance and warmth, pops into my head, when the phrase “Meat on the bone” is uttered.
People rarely eat their meat off the bone, it’s so strange to ponder about, but it’s true. We don’t do it anymore because it’s no longer a necessity, when we think of animal bones, it’s like a big fat reminder of reality, that the thing we’re squirting hot sauce all over was once alive and kicking, breathing the same air we did, experiencing life like we did.We like to think we’re civilized now, so bones disgust us.
This connection to meat is quite coincidental in that Shannon’s family own a butchers shop, and she often works there. Could she have delved into her subconsciousness and drawn out this imagery of meat and bone and instinctive disgust and somehow put that into the piece.
Perhaps, but no. This is more my liberal interpretation of the piece.
I’ll try not to go all inception on you next time!