Friday, February 25, 2011

Old Friends and the influence of Cronos

Yesterday, I visited my parents, who came out to Pittsburgh from the Susquehanna Valley, where I was born and raised. With foam sheets, brown paper, and white packing twine, my father had carefully wrapped the three paintings you see below.

There is a fourth painting, which belongs to the first image you see below, but it's not appropriate for all audiences...if you know what I mean. This, folks, is a family-friendly blog. *snort* Well, it is!

Savannah Schroll Guz, "Wounded" from the Cadaver Series (2002)
acrylic, paper, book pages, turquoise glitter
Where does this blue-veined nakedness come from you ask? Back in college, I saw a Mexican horror film called Cronos (1993). I didn't realize it until recently, but it was done by Guillermo del Toros. (To see a New Yorker-produced video exploring more of his monsters, click on his name). In Cronos, once the scarab watch inserts its hidden and scorpion-style brass stinger into the elderly man's body, he begins to change physiologically. He grows perceptibly younger, becomes incredibly pale. His blue veins show beneath his skin. He develops a taste for blood. So, in effect, he becomes a vampire. The vampire part, I'm not so enraptured by, but the physical changes were fascinating to me. I still remember them to this day. And in 2002, this continued to show up in my art. 
Savannah Schroll Guz, "Hangman II (Pierrot)" (2002)
acrylic, paper, black glitter

(detail) "Hangman II (Pierrot)"
(detail) "Hangman II (Pierrot)"
I was so excited to see that the background of "Hangman" actually contains a web of gorgeous black glitter, which apparently wasn't part of the first image of the painting I posted here on the blog. It looks beautiful in ambient light in the evenings...well, the black glitter does. The drooling dude with the orange head covering, well, not so much. 
Savannah Schroll Guz, "Hangman"
from the Cadaver Series (2002)
acrylic, paper, black glitter

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