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untitled (hieroglyphics)
Detail
  • Malerei
  • 115.00 x 230.00 cm
  • oil on linen
  • 2007
  • 2009 Kunstkeller Bern
    2012 the-solo-project, selected shows by selected galleries, Basel
  • "Corporeality and transience are the themes which the 39 year old artist, who grew up in California, interprets in her exquisitely executed paintings. The artist's approach to these traditional themes is honestly direct yet poetic at the same time. With a refreshing dauntlessness, she opposes the fearful denial of death, so typical in Europe’s present day culture."
    - Alice Henkes, Der Bund, 03.09.2009

    Horapollo, "Hieroglyphica"
    Horapollo is the supposed author of a treatise on Egyptian hieroglyphs, extant in a Greek translation by one Philippus, titled Hieroglyphica, dating to about the 5th century. The text of the "Hieroglyphica" consists of two books, containing a total of 189 explanations of Egyptian hieroglyphs. The text was discovered in 1422 on the island of Andros, and taken to Florence by Cristoforo Buondelmonti. In 1512 at the request of Emperor Maximilian a Latin translation was begun by Willibald Pirckheimer which was then illustrated by Albrecht Dürer.

    “To signify an impossibility, they represent a man’s feet walking on water, or when they would signify the same thing differently, they delineate a headless man walking.” According to Horapollo, since these are both impossibilities, they were selected for this purpose.

    “In the Renaissance they were generally considered to be authentic Egyptian characters, and although this authenticity was seriously placed in doubt during the eighteenth and nineteenth centuries, modern-day Egyptology recognizes that Book I in its entirety and approximately one third of Book II are based on real signs from hieroglyphic writing. Nevertheless, their interpretation does not follow their functional meaning in the Egyptian system of writing, but rather a presumably loftier moral, theological or natural decoding of reality, in exactly the same way that the Physiologus was interpreted at around the same time. This genre of the symbolic rereading of the hieroglyphs – „enigmatic hieroglyphs“ as Rigoni and Zanco (1996) call them – was very popular in the late Hellenistic period. Many Renaissance Humanists saw in the Hieroglyphica a genuine connection with the highest sphere of wisdom.” (studiolum.com)