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The Late 1980's Galleries
Red Blue Yellow Drawing

note: The late eighties were very productive years for Gerard: in order to accommodate the numbers of works we have divided this aspect of the gallery into several sections, of which this gallery is just one section. This is the Drawing Gallery for "Red - Blue - Yellow Works". To view the "Sculpture Gallery" please click here". For the "Painting Gallery please click here". To return to the "Red-Blue-Yellow Lobby please click here". To view all the "Works of the Eighties please click here".



Red - Blue - Yellow Works Drawings

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  Nature is Man - Man is Style
Style is Abstract - Abstract is Atrophy
1987
 
 
 
detail of Figure 1 - Nature is Man - Man is Style... 1987
detail of Figure 2 - Nature is Man - Man is Style... 1987
detail of Figure 3 - Nature is Man - Man is Style... 1987
detail of Figure 4 - Nature is Man - Man is Style... 1987
detail of Figure 5 - Nature is Man - Man is Style... 1987
detail of Figure 6 - Nature is Man - Man is Style... 1987
detail of Figure 7 - Nature is Man - Man is Style... 1987
detail of Figure 8 - Nature is Man - Man is Style... 1987
detail of Figure 9 - Nature is Man - Man is Style... 1987
detail of Figure 11 - Nature is Man - Man is Style... 1987
detail of Figure 11 - Nature is Man - Man is Style... 1987
detail of Figure 12 - Nature is Man - Man is Style... 1987
detail of Figure 13 - Nature is Man - Man is Style... 1987
detail of Figure 14 - Nature is Man - Man is Style... 1987
detail of Figure 15 - Nature is Man - Man is Style... 1987
detail of Figure 16 - Nature is Man - Man is Style... 1987
 
 
 
 
Nature is Man - Man is Style
Style is Abstract - Abstract is Atrophy

graphite and ink on paper
271 X 203 cm. (installation of 16 panels)
each detail measures: 40 X 28 cm.

the human form takes on a more important meaning

Installations and details from:
Nature is Man - Man is Style
Style is Abstract - Abstract is Atrophy
installation  of - Nature is Man - Man is Style... 1987 framed detail from - Nature is Man - Man is Style... 1987
 

the irony is that the pure form points to our common human frailty when applied

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Red Blue Yellow Drawings and their Applications
Drawing
Application

Lourdian Binds 1977
Hinc Illae Lacrimae - see this project from the  "Late 1980's Lobby"
Lourdian Binds 1977
1986 - Hinc Illae Lacrimae
Lourdes, Homage to Joseph Beuys

Study for Red Blue Crutch 1986
Red Blue Crutch 1986-87 - see these works in the "Red Blue Sculpture Gallery"
Study for Red Blue Crutch 1986
Red Blue Crutch 1986-87

Blueprint for Red Blue Wheelchair 1987
Maquette for Red Blue Wheelchair 1986-87 - see this work in the "Red Blue Sculpture Gallery"
Blueprint for
Red Blue Wheelchair 1987
Maquette for
Red Blue Wheelchair 1986-87

The Living Meridians 1 and 2  - 1988
Tableau 1, Unie, Union with Red Blue Crutch 1986-87 — see this work in the "Red Blue Paiting Gallery"
Maag ik Bestellen 1987
Tableau 1, Unie,
Union with Red Blue Crutch 1986-87

The Living Meridians 1 and 2  - 1988
A Reinvented Object 1988-89 — see this work in the "Red Blue Sculpture Gallery"
Café De Unie Receipt 1986
A Reinvented Object 1988-89
 
With these drawings, I have attempted to show how the drawing leads to the completed sculptural or painting element. To see the sculpture or painting galleries please click on the links on the top of this page or return to the lobby. G. Pas

whether pure or applied it still has to be good


Nature is Man - Man is Style
Style is Abstract - Abstract is Atrophy

I was motivated to try and apply Neo-plasticist Theory to the subject of the abstracted body or in medical terms the atrophied body. In the late 1970's, I was not only inspired but had made contact and opened a dialogue with the Austrian 'body artist' Arnulf Rainer, who had seen my own contorting pieces in front of the Maximum Security Prison in Canada. I have always held to a perspective that the human body could also become abstract in the sense of not only contortion but also physiologically, i.e., dwarfs, our societies fetish with the freak show, etc.
With these drawing I thought that I'd try the same application of contortion, but instead of using my own body I would take my hand and pen/cil to paper.
Here I take an abstracted or deformed body, thinking that it could represent Emanuel Kant's facile and sanctimonious critique of art, where in he says that 'art is what has no function'. To explain: think of a piece of fired clay, if it is formed into a vessel - it serves function and becomes pottery, if the clay serves no real function except for form - it becomes art. So these deformed figures, carrying their deconstructed and dysfunctional crutches, become the Pure Form = art. Then by applying "healing" to the form the figure and crutch become whole. The crutch in the last panel is a fully functioning ambulatory aid. Ironically, I see this work fluctuating back and forth like a teeter-tooter, from the applied form to the pure form, the healthy to the infirmed. What is real is also abstract. Both perspective forms and their transitions have function and follow form.
The body in all its glory and in its complete frailty, is a resplendent thing. I'm glad I have one, even if it doesn't work as well as others tell me that it could. This body is all I've ever known! In it I have seen the stars, Orion's belt and the Pleiades. It has been baptized or submersed in all the great oceans of this modest blue globe. It has traversed up severe rock faces in the Dolomites and ambulated the soft lush valleys of Haida Qwaii (The Queen Charlotte Islands). It's passion has brought me the greatest joy of life - bringing forth life itself - it's crowning triumph: my sweet, sweet babes, Joshua and Nicole I love you so!
In short: this body, it's all I got and I love the damm thing cause it houses my soul.

Think of the alternative to the above "life or no life" - the notion that someone healthy could think that anyone, even in a broken body, would not want life, based on a assessment of 'quality of life' - is not only anathema to me, its
really f%@king sick. Even vegetables enjoy life, that's why they grow and reproduce. If life is good enough for a 1 celled being, then who has the right to decide what lives and what doesn't except for the life form itself! Stupid arrogant nazi f%@ks - go clone yourselves or have your DNA reconstituted into a super beings and see what happens - your myopic arrogance is paramount to complete lunacy, which regrettably does have ramifications!
I dedicate this page to all the martyrs of Pure Form.

Gerard Pas. 2002

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The broken bodies and freaks of the past were elevated to our gods or shaman. We replaced them with a misplaced Christian notion that they were a sign of God's punishment for sin, which is a falsehood based on the Greek concept of the ideal pure form. To the Greeks, a broken body was just a mere reflection of Ideal Form shadowed on the cave walls of this imperfect material world. Ironically, many still hold on to this philosophical presupposition assuming it to be as true as hEaVEN is in the sky and HEll lies beneath the GrAVEyard.
Saturn ruler of the boundaries of the planetary circle... god of the crippled and the creative - image from the Vatican Achives 1522.
"Saturn, ruler of the boundaries of the planetary circle, is the god of the melancholy, the sick, the crippled and the creative." By Sebastian Münster, Organa Planetarum, Heidelberg, 1522. Courtesy of La Biblioteca Apostilica Vaticana, Rome, MS. Pal. lat. 1368, fol. 1V

"I couldn't help but notice that the god of the depressed, sick and disabled is also the god of the creative. Sardonically, this is probably not far from the truth. How sublime that he also used a crutch and had a prosthetic leg." G. Pas

"Nearly 200 years ago, Novalis asked, "Do not the best things everywhere begin with illness?" He further stated, "Our illnesses are all phenomena of an enhanced sensibility which strives to change into higher powers." Egon Friedell, in his cultural history of the modern age Kulturgeschichte der Neuzeit, even considered the "Black Death", the midwife of our era and mentions numerous scholars, explorers and artists whose physical handicaps clearly triggered compensation in higher fields of endeavour..."
Uli Bohnen,
"From Opposition Through Affirmation to Dialectics - The Artistic Development of Gerard P. PaS". McIntosh Gallery Catalogue: "Less of More - More of Less (PaS Plus - PaS Moins)"; The University of Western Ontario, London Canada. 1987. p. 3
To read this online catalogue "
please click here".

melancholic, sick, crippled and creative
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Click here to read the artists statement.


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