Style1½ inches thick (3.75 cm) Product Details Artist grade canvas, archival inks, wooden stretcher bars, and UVB protective coating
AvailablityUsually ships within five business days. ArtistEric Brown CollectionMirovia
Description Yggdrasil whispered. Yggdrasil groaned. I am the colossus. My being fills Ginnungagap. The bitter flame of Muspelheim gnaws at my feet. The searing cold of Niflheim blisters my scalp.Mimirs head. Power of tongues. Eye of Odin. Many truths unknown to beast or god do I witness. What are nine days to the Lord of Gallows? Hanging from that terrible tree, they are as a thousand years. I witnessed. I witnessed until I could bear no more and then I fell in upon my own life, to die among these branches, hung and wounded, choked and bleeding. Myself to myself. My soul struggles to hold fast as all that I had ever known slips away. Many times I would have given up; given myself over to these painful visions that they might end. But each time I am drawn back to that terrible tree. Nine times I die. And nine times I am reborn.Perhaps I should have let it go, that tormented spirit. Instead, I pulled with all my will, upon blood and soul, forcing each into its former channels. The pain was white hot and clean. I let it wash over mebaptize me. I lived. I learned the runes, learned them screaming.In Norse mythology, Ginnungagap is the great yawning abyss from which all things arose and into which all things must one day return. Apart from being my second favorite word in all the Germanic languages*, Ginnungagap is a compelling concept not adequately described as a 'void'. Ginnungagap is a magical and power-filled space, fueled by the primordial forces of its borderlands, Muspelheim and Niflheim.This image is one of those happy accidents, where I started by taking an uncharacteristic step away from my usual sepia palette and just let the painting take its own path.* My most favorite Germanic word is, of course, 'backpfeifengesicht' - meaning a face badly in need of a fist. Nearly seven thousand living languages in this world and only the Germans could give this all too important concept its own word?
Eric Brown, Sherrill, NY Member Since November 2011 Artist Statement People often tell me that my work depicts the imaginary. I guess what they mean is that I don’t paint the real world – you know, still-lifes, landscapes, portraits. But I don't see it that way. The world is insane. Insane and horrific. And undeniably beautiful.
All of my work deals with this truth. I don’t replicate the mundane because for me, the mundane is the fiction. The fruit in that bowl – it was born in the decaying flesh of a thousand creatures that once clung desperately to life. And even now, the fruit plays host to a horde of maggots, writhing just beneath the surface. To paint it any other way is to tell a lie.
That landscape – it was forged of the cast off detritus of a billion dying stars, forged through mind numbingly complex geological processes that spanned eons. That rock in the foreground, the one casting the pleasing shadow upon the grass, it was once part of a great ridge bisecting the continent of Pangaea, a ridge in whose shadow behemoths prowled some two hundred million years before man took his first clumsy step.
And that portrait – just thirty layers of dead skin encasing an organism created through an imperfect reproductive process resulting in no fewer than sixty unexpected mutations, any of which might result in horrific disfigurement, or abilities that far surpass anything that could be called human. Does the portrait capture the being's fathomless ability for kindness? Or cruelty?