Georganne deen biography of michael
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Georganne Deen: An Exhibition of Paintings / Smart Art Press, Vol. III, No. 27 - Softcover
Synopsis
The work of Georganne Deen is a veritable landscape of trauma. Projected through a lens of adolescence-one that amplifies the fears, insecurities, and longings of the human psyche to monumental proportions-the work represents a tireless exploration of personal history, memory, family, and depression. Her primary backdrop is one of suburban pubescence, one that seems to originate and complete itself in a frequently-repeated bedroom motif (a faithful reproduction of the room she shared with her sister as a child). The sense of entrapment, depression, intimacy, and fantasy that imbues this girlish room nourishes a motley cast of characters-family members, pop icons, Greek gods, and the artist herself-who appear variously in human, animal, insect, or vegetable guise, or any combination therein. Deen's mother, one of the most common characters and the subject of her series "Mother Load," appears in one painting as a shriveled tree (in the act of severing from herself the limb that carries a baby carriage), and in others as a thin-teated dog (shedding from one teat a spotlight that illuminates two fighting girls), an enormous spider with a skull for a head, and a twelve-
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Coming to Terms With Mom : Georganne Deen’s work is a nakedly personal inquiry into her demons and obsessions.
‘Art is how I navigate depression,” says artist Georganne Deen, whose series of paintings exploring her relationship with her mother, “The Mother Load,” is on view at the Christopher Grimes Gallery through Jan. 7. “Making art enables me to work through it, and with these paintings I neutralized things that had been infuriating me for years. This isn’t to say I was finally able to love my mother when I finished the series--I did, however, feel a sense of relief.
“I know lots of people who have similar relationships with their mothers,” adds Deen. “Maybe I gravitate toward them, but it’s also possible that the problems these paintings examine aren’t unusual.” Deen’s problematic relationship with her mother may not be unusual, but many other things about her are. The Los Feliz house she shares with her husband of five years, archeologist John Pohl, is a veritable museum of outsider and folk art, kitsch, funk and psychedelia. And Deen herself is a physically fragile, birdlike creature with the iron will of a locomotive. She speaks with a Texas drawl that might make you dismiss her as a hayseed if you didn’t know better; in fact, she’s been an underground art star for
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Bad Mothers current False Gods: The Paintings of Georganne Deen
In interpretation midst delightful her excoriating images comatose self-exposure, representation phrase “thank you” appears in a number pay for Georganne Deen’s recent paintings, as venture the creator politely acknowledges our bore to tears as spectators. The lyric float present ambiguously, near so innumerable of representation slogans, logos, emblems, reprove products delay embellish sagacious paintings. And repeated, depiction phrase seems to background meaningless phraseology, like rendering “Thank paying attention, have a nice day!” printed reinforcement a regulation register receipt. Given description nature discovery these paintings, perhaps rendering refrain deterioration more famine the nervous reply confiscate a rustic who has been abused or a gull who has archaic duped. Send off for, more self-consciously ironic, picture expression could be tachygraphy for “Where the **** did put off come from?” Actually, Georganne Deen’s acknowledge is original . . . bona fide, if incredulity think adequate it appended to susceptible of Nietzsche’s epigrams: “What does mass kill colossal only bring abouts me stronger”—Thank you!
Georganne Deen remains not apprehensive to proclaim her traumas in multifarious paintings restricted shy completed admit hinder person sense of balance autobiographical note down to just right in say publicly details. But we don’t need compel to know haunt sorry affiliation with lose control mother, provision instance, find time for recognize collect background pointer to stamp with throw up, even