"And as in the daily casualties of life every man is, as it were, threatened with numberless deaths, so long as it remains uncertain which of them is his fate, I would ask whether it is not better to suffer one and die, than to live in fear of all?" —St. Augustine, from City of God.
These new still life images continue with my explorations of variations of a theme in vanitas composition. Both images use the same basic ingredients, and both speak to the same underlying themes of mortality and transience. Both images use the same pig's foot and both revisit the "tipped cup" visual metaphor which appears frequently in my work, and in vanitas composition in general. For the image above I particularly enjoyed the interplay of colours between the pig bowels spilling out of the glass. These start out reddish, like the gore coming closest to the bottom of the frame, but get increasingly pale and grey after having been thawed and re-frozen over and over and over. (I reuse the same organs over and over in my shots, replacing pieces only when absolutely necessary, in an effort to minimize my financial support of the meat industry.)
While I've already spoken at length about the relation of my work with "meat as art" to vanitas compositions, I have said rather little about another, perhaps even more obvious, comparison with art history: paintings of butcher's shops and market scenes. Such works were a sort of precursor to the golden age of 17th century Dutch still life paining. The analogy with my own approach goes beyond the simple choice of subject matter, since to some extend a critique of butchering seems implicit in many of these works. Painters like Passarotti and Carracci depicted butcher's shops and sought to emphasize the rough crudeness and lack of sensitivity of the butcher's assistance. In the 16th and 17th centuries theologians often viewed a slaughtered animals as symboling the death of a believer and to combine it with the warning:
"You who with much pleasure
Slay a swine of calf,
Think how on the Lord's Day
You will stand before God's Judgement." --Groote comptoir almanach, Amsterdam 1667
I don't know if it was intentional or not, but I certainly feel a similar sense of sadness and critique of butchering when I look at Goya's famous still life with the rib and head of lamb. Of course the state of the meat industry in Europe in the 16th century is in no way analogous to what we have in North America today and I certainly don't imagine that Goya, Passarotti, or Carracci were coming to their subject with the same kind of political biases that I have. However, I do find it fascinating to muse on what analogies there are.