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Ivan Markovic
Forsaken - loose Figurative painting of Angel

2024

$700
£531.23
€612.09
CA$988.99
A$1,059.69
CHF 568.45
MX$12,552.12
NOK 7,170.64
SEK 6,560.03
DKK 4,572.41

About the Item

Ivan Markovic transports viewers into a world of full of technicolor with this collection of works inspired by Bernini's bridge of angels. Markovic's life in Rome brought him to walk across the Ponte Sant'Angelo time and time again, and with his sketchbook in hand he saw a world of Bernini's angels erupt into technicolor. This show combines Markovic's iconic paper sculptures with a new collection of electric paintings. Gallery VICTOR welcomes you to experience Bernini's Angels of the Ponte Sant'Angelo and the street art of Rome come to life in a new light at the hands of Ivan Markovic. Ivan Markovic Forsaken Acrylic paint on wooden panel 13.25h x 6.5w x 0.25d in 33.655h x 16.51w x 0.25d cm IVM055
  • Creator:
    Ivan Markovic (1970 -, Canadian)
  • Creation Year:
    2024
  • Dimensions:
    Height: 13.25 in (33.66 cm)Width: 6.5 in (16.51 cm)Depth: 0.25 in (6.35 mm)
  • Medium:
  • Movement Style:
  • Period:
  • Framing:
    Framing Options Available
  • Condition:
  • Gallery Location:
    Chicago, IL
  • Reference Number:
    Seller: IVM0551stDibs: LU554317062662

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As is generally the case with my paintings, this work proceeded from a place of unknowing. The specificity of imagery and technique belie the non-specific character of the ideas and narratives presented. The imagery is not tied to any pre-existent source (textual or other). It is not preconceived by the artist, rather it is produced spontaneously in the process of painting. That said, it seems both easy and sensible to connect the imagery in this painting to common cultural material, especially that from very ancient sources. The central figure is very much like a totemic Neolithic goddess- the sort of which seem to be among the most ancient artistic works, examples are extant from eras stretching back tens of thousands of years. A lot has been written about figures of that kind but of course no one can reasonably claim to truly understand them. Here the great goddess appears with wings and entwined serpents. Crowned also with a glowing orb she has become an emblem of a matristic hermetica. The smaller figure may be less evidently archetypical. She is a younger goddess, a daughter like Persephone to Demeter. She lifts the breasts of her mother signifying perhaps how the presence of the child evokes the nurturing qualities of the mother or how Persephone’s seasonal ascent from the underworld awakens in her mother the impulse to again give life to the world. The cluster of gynomorphic figures contained by the crescent moon at the center of the painting refer to the balanced transformations of the lunar cycle and their mysteriously harmonic physical manifestation in the vital cycles of a woman’s body. At their axis is the cycloptical abdomen of the figure enthroned on the moon. The entire totem rises from a terrestrial gateway into an open landscape. In the background megaliths obscure the horizon. They represent a first boundary in time- the beginning of history. Below is the gateway, the opening to an inner earth...
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