Original artwork description:

The collection of anatomical organic forms floating and stuffed around this square-shaped venue ultimately relax into one cohesive reading. The top half of the space could be read rightly as the long white neck of a person (male or female) rising above a set of wide, strong wing-like shoulders, spreading out and down to reveal a chest full of life-giving organs or a patchwork of lively, colorful swathes of clothing. Below this an impish, recalcitrant upward leaning red phallus (supported by a yet more massive indigo blue one in horizontal semi-relaxation), anchoring the center of the picture plane, hovers above a more threatening looking flat base with spikes protruding upward on the right. The title is a personal pronouncement from me, the architect and painter of the piece in progress, that I would not let it defeat me, but would rather end with a satisfactory resolution. The addition of the "three candles" reference in the title is an allusion both to the physical resemblance of the spiky elements shaped like candles on a birthday cake, but also as a nod to the elation of feeling inherent in a child's birthday party, as well as to the overcoming of a very difficult challenge as an adult.

The rustic, imperfect application of primer and wood filler on the surface and edges, as well as the slight warp of the panel, are intentional qualities meant to keep in concert with the informal tone inherent in art made on discarded "found wood," one that seemed appropriate for the casual, informal feel of this piece.

Influences, among others, include Max Beckmann, Edvard Munch, Bob Thompson, George McNeil, Richard Diebenkorn, David Park, Francesco Clemente, R.B. Kitaj and Willem de Kooning.

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Materials used:

Oil paint, gesso, charcoal and enamel on canvas

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