for anyone new to helnwein, the dozen or so paintings might not read well - that is, they are an amazing display of ability and are often individually haunting, but the exhibition's title and some of the imagery implies a stronger encompassing narrative than what is present. reading around the frames, so to speak, is required. nothing is spelled out. but this makes sense for this painter in this time, as do my knee-jerk associations: the violently yellow rapist of sin city, the rabbit in donnie darko. such connections do not detract from the works, but instead make their unease more intimate, the neighbor who has done nothing yet whose eyes you dread meeting.
helnwein's alice at modernism.
visual fidelity is the phrase that comes to mind. what is it about paintings of photographs? it's the warmth, i believe - a warmth you can't get out of a print no matter what. photos are cold.
mixed media (oil and acrylic on canvas), 2005, 192 x 286 cm / 75 x 112''
mixed media (oil and acrylic on canvas), 2005, 192 x 249 cm / 75 x 98''