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Hugging The Blackthorn (scale image)
Hugging The Blackthorn (on black background)

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Hugging The Blackthorn Painting

Michael Hayter

United Kingdom

Painting, Watercolor on Paper

Size: 3 W x 5 H x 0.1 D in

Ships in a Box

SOLD
Originally listed for $300

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ABOUT THE ARTWORK

This painting is part of a series that was stimulated by the flowering of hedges of blackthorn I would see on walks with my dogs back in April. The blackthorn has a long history of associations with religion and witchcraft. It was said that the crown of thorns placed on Christ's head was a wreath of blackthorn twigs, and the tree in many cultures became a symbol of death. The long and formidable thorns were said to be used by witches to pierce the wax images of victims to whom they meant harm. In this painting a small and naked person clings to the trunk of a blackthorn tree. Large thorns can be seen projecting from the trunk and branches, and the tips of thorns can be seen projecting either side of the vulnerable body. Does this then mean that the figure, by virtue of hugging the tree, is also being pierced by thorns - a fact we cannot see, from our viewpoint, to verify? Is this an act of masochism brought on by a kind of religious fervour? The black spikiness of the tree and its potential to do harm, is contrasted with the white, delicate and beautiful flowering of its blossom. The tree presents to us a contradiction of danger, pain and death and a delicate, life-giving beauty. With this potent symbolism it is no wonder the blackthorn became the tree of the Crown of Thorns.

DETAILS AND DIMENSIONS
Painting:

Watercolor on Paper

Original:

One-of-a-kind Artwork

Size:

3 W x 5 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

"Although I state that much of my work stems from the imagery thrown up by depression, I would say that it is also the imagery of unconscious connection.Indeed the two are irrevocably entwined. It is no accident that the appearance of animal symbols and the use of bodily products such as hair, urine and blood is also influenced by my former work as a veterinary surgeon. Some time spent in psychoanalysis has helped me to illuminate these connections to find a personal mythology, which I believe connects to a universal meaning of what it is to be human. The `otherness` of animals, their power, vulnerability, unselfconsciousness and instinctual drives, and their relationship with us, are potent symbols of qualities we also have - qualities which we struggle with in our attempts to remain in control of ourselves and our society. It is where these tensions meet that my work is situated." Studio: Sculpture Shed, Spike Island, 133, Cumberland Road, Bristol, BS1 6UX. Tel: (0117) 929 2266; Email:

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