There's a Tear (the Walls of the World) - from Cheryl Penn

[Marie Wintzer]

Mia's eyes are of such beautiful and rare green. But it looks like the deep serenity that we used to find in them is gone.
Did she cry? Is she upset?

Almost surely. Because this wound, oh my, it must hurt badly. And it doesn't look like it is going to heal any time soon.

We can try to stitch as best as we can, we can try to stop the hemorrhage, but we know, the earth is already tainted, earth and blood are already mixed.

There's a Tear in the Walls of the World, and as the envelope says, this is so true in Japan. A lot of bad cracks in the Wall, and a lot of tears. Think of all the thread we will need to mend THAT wound, not to mention all the others.

I don't even need to mention that this piece is a fab, you already know. The colors are a-mazing and the brush strokes are blending into each other so perfectly.

The format is A4, and thanks to a couple of cuts the small panels can be folded into various combinations. Paint and printed words, the building blocks of a Wounded Wall.
Tear/Apart.

Like in a lot of Cheryl's work some parts are deliberately left in the mist of one's imagination, the link to a different piece. 
"Nothing will remain of it"? That's up to us.
Cheryl, thank you for sending such mind-blowing pieces. I always fell like they are made especially for the sweet pea. She couldn't be more chuffed.

[De Villo Sloan]

A tearing of/in the world - that is so appropriate with this piece. Another thing that is fascinating about the wound images across CP-SA's work: There is this melding of organic and inorganic through the medium of the book itself. Sometimes pages are like skin; sometimes skin is like pages to greater or lesser degrees. That, is sometimes the wounds are very organic. In this piece, when you look at the pages, they are closer to the paper side of things - perforated paper. I fear I'm not expressing myself well here. Back to earlier discussions with Marie, I'm very interested in this biopoetry idea. This makes me think of that.

 

Marie - yes - extraordinary photos - an extension of the art for sure.

[Marie Wintzer]

Thanks Cheryl. If I could I would leave the lab tomorrow. Who cares about mice anyway. Not me. Is there such thing as an art photographer? :-)) I would sign immediately! But you know it's all about your piece, it's SO photogenic! So easy...

DW, fair enough...

[cheryl penn]

Marie - I think its time to leave the lab and do photography FULL TIME!  Man - these are good - they make the piece look excellent - thank you :-) The world is in a strange place suddenly.  Uncertain. .  As though its had enough? Through the storm last night, when lightning stuck, it was as though the night was ripped apart. Crying and tearing for sure.

[De Villo Sloan]

cherry blossom - glow boy knows you saw it. he wanted to focus on it

[De Villo Sloan]

Hi, I read it in your text. I wanted to emphasize because I'm finding this ambiguity is so central to all she does. You know, it's a little scary messing with an artist's unconscious. But I wrote to her and said those wounds are really a key to understanding her work. If you look back, they've been appearing for a long time in various forms. We can only wish that our friend becomes the subject of numerous doctoral dissertations in the future - it will take that kind of work to figure out what she is all about. I rarely see such complex image systems.

[Marie Wintzer]

Hmm, if only I had an alter ego like the CLP. I would make him tell DVS that I am quite offended that he thought I didn't get the tear/tear story...

[Marie Wintzer]

Thanks Sloan! Yes, another amazing wound piece. I remember the "Attack" piece to you, how could I not. And your blog!

I'm quite proud I found the tear/tear ambiguity (cf in the blog tear/apart) :-))

[De Villo Sloan]

Another amazing wound piece. I want to point out there is some excellent cp-sa ambiguity going on here. A tear (rip, wound) is also tear (shed a teardrop). When you dig in, there is a complexity of word and image that's fairly staggering.