Terrance DePietro*
Medium: Oil Painting
Date Created: September 5, 2009
As a dream event 5 Sept 09:
I am looking at a yellowish lighted area with visceral silhouettes coming through the light. A deer's hoof comes from above and touches a dove being held by a woman dressed in a red(vermillion) coat with a large collar and shawl, old style riding-coat(like little-red-riding-hood); she has blond-hair and wings growing from the forehead but eyes seem closed and she is older/mid-age woman, wearing lipstick. She holds the dove in one hand and sets her left hand on another white hoof and is facing a witchy-crone who laughs with open toothless month holding a pearl/sphere as if to pass it; she has a hare next to her who holds a bluish box, with an open cover and a car(white), resembling my old station-wagon. The deer is there looking at the event. Next to arrive, a funny long faced creature - an ass, a camel (?). A mixed being of sorts as he has human features/cloths and he is holding another leg of the deer, and a turtle looks back over its shell while walking on feathers (a wing?) next to an angel/man laying, unconscious, on a ledge above a cave. There is light in the cave and it has big earthenware pots, old, some tipped over, some broken, some intact. A priest/cardinal with a staff (forked at top) comes in from the left and next to him a rabbit is strapped to a wooden-chair and onto the back of a tortoise who is moving down near the entrance of the cave but it must be watery because in the shadow I can see a large fish peering out at the tortoise and rabbit, he looks frightening like he is waiting a meal, and the tortoise sees him but is unconcerned WAKE! (5Sept09)
Painted in the mid-‘90s, during a time of transition and a failed attempt to relocate to a foreign place my attention and questions were drawn to: the ‘car’ , ‘bound rabbit’ and ‘cave’ guarded by the ominous sea-creature and draped with a ‘fallen angel’. But going back to the image, as in this instance, to exhibit and attach parol evidence, allows me to revisit that period - how I felt and how I resurrected my journey; and what I glanced over in the dreamscape. Those ‘other’ events - fixed in image long ago - now resonate. The ‘particulars’, segments are ‘re-dreamt’; understanding, meaning re-interpreted; the magic of time-spent instructs the painter in the art of journey, life, by untethered brush in day or pillowed in dreams. Yet, simply arrived at on a wall, without pre-emption or explanation, its magic and myth might provoke transformation in any viewer.
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