CliveBarker on DeviantArthttps://www.deviantart.com/clivebarker/art/Boundary-311619202CliveBarker

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Boundary

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Boundary
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1376x1711px 1.15 MB
© 2012 - 2024 CliveBarker
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Rougeski's avatar
:star::star::star::star::star-half: Overall
:star::star::star::star::star-half: Vision
:star::star::star::star::star: Originality
:star::star::star::star::star-half: Technique
:star::star::star::star::star-half: Impact

My favorites of Clive Barker's current collection are THE FOREST and BOUNDARY. They are brilliant works—entirely original—as are his writings. If I were not a pauper, I would buy them both for the walls of my office.

THE FOREST demonstrates a masterful synergy of color, balance, and motion. The blues and blacks of secrets and night surround the reds of blood and fire, and the reds in turn surround yellows of sunlight and caution; circles within circles beckon like a vortex drawing the viewer into a strategically placed grove of light that promises all things good—or does it? Is there another boundary at the end of this yellow brick road? This is an important question since not only is the grove surround by abstract rings of color, but the outer ring of night is inhabited by illusory faces and wild animals, thus increasing the power of the vortex to draw the viewer into its center—willingly.

BOUNDARY is quite different visually. At first glance it might seem less complicated than THE FOREST, but upon closer evaluation one finds that, even though it contains fewer colors, it is every bit as complicated as THE FOREST. The background of sky, if that is what it is, appears to be in motion, but not due to detached swirls as in Van Gogh's STARRY NIGHT. Instead, the motion behind the boundary seems integrated, intentional, directed. Brush strokes incite the night to caress the inquisitorial icons that create the actual boundary. Why? Another interesting aspect of the sky is the fact that it fades when it nears the ground. Or does it? Could the lightness below the liminal space not function as a fading, but rather an illumination that overwhelms the night caused by something on the other side? Is that luminosity a promise of immolation or glory? It appears that the boundary lies at the edge of a cliff. What lies on the other side? The merciless, medieval implements that constitute the boundary clearly state that what exists on the other side should be feared and avoided at all costs. Only the very unaware or foolish would dare to cross the border—willingly.

What separates "interesting pictures" from great art is the fact that great art offers more. Great art is ambiguous, thus challenging the viewer to question his concept of "reality." Therefore, it could be said that mechanical elements are secondary to the carefully crafted metaphysical messages offered in both THE FOREST and BOUNDARY. It is as if they are paired opposites that pay homage to the Blakean aesthetic. Whereas the demon faces and wild animals that surround the entry to the heart of THE FOREST urge the watcher to enter the glowing grove with promise of safety—even though it is most likely a trap—BOUNDARY, on the other hand, clearly warns the viewer to stay put in this something less-than-manifest world. For one who has inadvertently crossed the boundary one too many times and met the horrors there, this work holds great meaning. It reminds us to watch where we step. I would love to be able to use it as the wallpaper for my iPhone. That is how much reminding I need. How about you?