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sorts of things. For instance, one disturbing study for a large painting, “Bride of the Serial Killer,” depicts a man dressed in blue in an electric chair, about to be killed by an official, also wearing blue, waiting to throw the switch.
Beside the death penalty victim stands a demure woman dressed in a white bridal dress, holding a bouquet. They face a husky black clad fellow (a priest of a justice of the peace?) who is performing a wedding ceremony. The background color is a pale violet. Make of this scene what you will.
There are imaginary scenes of “Sunrise at Karnak,” “Egyptian Ibmb” (King Tut’s), and “The Fall of Constantinople,” all rich in suggestion and painted skillfully.
An allegorical gouache scene shows a wide, empty highway lighted by a series of lamps. The direction signs in green and white are strung across it, declaring “Through Me You Pass Into the City of Woe,” and “All Hope Abandon Ye Who Enter Here.”
A sole, dispirited looking man carrying a bag is walking down the middle of the road. Is the highway the symbol of our society and are the signs predictions of our nation’s fate?
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