my life is a fart

Sachiko Kuru, c. 1980s

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George Dyer (1934‒1971), an almost illiterate former criminal, who was Bacon’s lover for several years until killing himself with an overdose of drugs in 1971, is seated on a revolving chair opposite his own image reflected in a mirror placed on a strange-looking piece of furniture with a pedestal, a cross between a television set and X-ray machine. The violence and brutality of the image, focused on the distortion of the main figure whose face is contorted by a spasm, as if being subjected to a number of forces from which he cannot break free, is heightened by a circular halo of light from a source located outside the painting. In contrast, the face reflected in the mirror, split into two by a strip of luminous space that appears to be a reflection in the glass, is not distorted as Bacon’s figures usually are; indeed, if the two halves were joined, we would have a fairly naturalistic portrait of Dyer’s face with his craggy profile and hooked nose and an expression that combines desire and death.

Charlie De Voet, Dolly Painting, 2022. Oil on canvas — 90 3/5 × 78 7/10 in / 230 × 200 cm. Courtesy Barbé.

you were my favorite

'blind embroidery,' 2001 in sigalit landau - gabriele horn + ruth ronen (2008)

Marc Jacobs for Re-Edition Magazine (2024) Photography: Hart Lëshkina

The Fifth Element, 1997

“What’s Left” (1992) by Jim Hodges ◈ Spider web colonizing discarded clothes

Futures Tennis, Brighton, Massachusetts (detail) by Pelle Cass

Nosferatu the Vampyre (1979) dir. Werner Herzog

Paper collages. C-prints, archival tape.

Two of Spades

Shiraz Pictoral Rug