Without Authentication

Without Authentication
Without Authentication Oil on three panels

This painting won an award at the Springville Museum of Art Spring Salon 2018 Exhibit and was published in the show catalog.

Eleven charcoal drawn chairs sit in the middle grown of a mountain range. Beneath a waterfall in the foreground is a single chair. Four colored shapes sit in various positions on the painting. You’ll find close ups of the details below.
This is a large painting on two panels. The sides and back are painted Chinese red.

This painting has several interpretations. It can be read as the story of Joseph who was cast into a pit by his brothers before being sold as a slave to a caravan heading to Egypt. It can also be interpreted as a multi-generational family ostracizing one family member. The phrase “we are rid of her” comes to mind.

This second interpretation cannot be authenticated or believed because other stories have been repeated so frequently that they are more believable. That’s the way with family stories.

Oriental painters use a chop or signature stamp to authenticate or give credibility to their art works. Because I am not oriental and I do  not have a method to authenticate this image I painted blank shapes where a chop might have been placed if this painting or story could be authenticated. Hence, the title: Without Authentication.

Closeup 1 Without AuthenticationCloseup 2 Without Authentication