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But the unknown is vaguely threatening – the intense blackness of the waters envelops the feet, consuming the rest of the child’s body. There seems to be nothing in the beyond.
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With his eyes narrowed in distrust and a smirk playing at the edges of his lips, he is the one evaluating the camera and drawing his own conclusions. He is anything but a passive subject to the camera’s agency.
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The painting exists somewhere between devastating violence and passionate warmth, drawing the viewer in while simultaneously making them fear what they might find within their own subconscious.
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Larrain traveled through Europe and Latin America searching for what he called the “state of grace” – an elusive state that combines both serenity and spontaneity.
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The painting evokes a raging wrath: the intense physicality of the paint makes the canvas almost sculptural in its forcefulness and level of presence.
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