The Drawers - Daniel Erban Commentary written by Julie Oakes
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Perpetuating
images of horror in their simplest primitive imaginings, almost as if they
were done by a child which makes the horror more horrific, signifies intent.
If the intent is to shock, it doesn't always work for often the response to
Daniel Erban's work is a reactionary identification with it, an exclamatory
response that has an affirmative rather than a negative reaction - perhaps
because the resulting pieces are stunning. Tutored to accept our dark side
from the time of Freud onwards, a mature acceptance of negative imaging is
almost common place from the perspective of an educated viewer. It's hard to
shock in the light of media coverage. A regal depiction of horror, in fact,
becomes attractive and the need to act out horror is nullified by the
satisfaction of understanding it and with discretionary caution, embracing
it. Acceptance of the dark side through visual knowledge allows the
opportunity to vicariously purge any notions of violence and disgust. Daniel
Erban's work is morally responsible work. It accepts the sorry condition of
aborted philosophies and like the needles poked in a voodoo doll, the
substitute effigy suffices to pierce the heart of the contemporary
conscience. Copyright © 2006, Headbones Gallery, The Drawers |