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After inhabiting and then being being driven from the body of an innocent child in The Exorcist, the Assyrian demon Pazuzu gets his groove on before taking on a new host! Tsk-tsk, author William Peter Blatty failed to perform due diligence in researching poor Pazuzu: yes, as a demon of the southwest wind, he brings drought to kill off crops as well as locusts to devour them when rains are abundant, but he also drives off other demons and therefore expectant Assyrian mothers would wear small amulets bearing his image around their necks during pregnancy to protect their unborn children. It's therefore a bit of a miscalculation that Blatty would have chosen this spirit to attack a young girl in his novel. Mediating that a bit, when it was recast as a horror film, it became one of the most tender and affecting portrayals of a relationship between a demonic spirit and its host ever rendered on celluloid. A colorful painting appropriate for a nursery, Disco Pazuzu may provide protection for your progeny as well as soften the blow when they eventually see Pazuzu's representation in The Exorcist.
Painting:Acrylic on Canvas
Size:30 W x 40 H x 1.3 D in
Ready to Hang:No
A native of St. Louis who’s lived in middle Tennessee most of his life, Thomas Brodhead studied classical music theory, history, and composition at Oberlin in the 1980s. During those years, he pored over classical scores while studying orchestral and chamber works, unaware that he was absorbing geometric graphic design that’s been in his blood ever since. After college, he worked as a classical sheet music editor and engraver (music typesetter) for 20 years, writing original computer programs to set music notation so that it conformed to the best Greek proportions and geometries. (Importantly, he produced a Critical Performing Edition of the Fourth Symphony of Charles Ives, a work so rhythmically complex that it requires at least two—if not three—conductors to perform.) But arranging black glyphs on white paper grew tiresome, and starting in 2009, he turned to color and began to paint. At first, his paintings were cartoonish and comical, always paired with tongue-in-cheek artist statements on the meaning of each piece. Over time, though, he began to take his work more seriously, exploring color and geometry on large canvases (up to 4 feet by 3 feet), but never failing to pen an accompanying whimsical statement. But more and more the whimsy veiled serious social commentary, often on the dangers of transhumanism (the integration of humans and technology) and the infantilizing effects of social media. Painting and writing thus combined in a Wagnerian Gesamtkunswerk, in which the combination of the two formed the total artwork. He joked that his early humorous style—cartoonish and splattery, with an emphasis on narrative—was “on an overlooked axis connecting Jackson Pollock and Norman Rockwell.” But after studying the color theory of Albert Munsell and discovering the joyous geometries of the artist Stuart Davis, his work took a sharp turn. Still working on larger canvases, he began planning each work in detail, defining the exact composition of its figures and determining its color scheme in advance. The execution of the paintings took longer and longer, one even clocking in at 160 hours. Borrowing a technique from 20th century classical music—and a technique perhaps never before applied to visual art—he produced a series of fractalized paintings that, at times, have a dizzying paint-by-numbers quality.
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