In the Warm Light of Day

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by Elena Shaura

Oil on canvas

h: 80 w: 60 d: 2 (cms).

‘IN THE WARM LIGHT OF DAY’ (BACKGROUND VOICES) CRITIC: I’m intrigued by the title of this work. Is this based on something you yourself experienced? PAINTER: A meaningful moment, yes. Staying in a hotel once and emerging one morning from my room in a dingy corridor, with a hangover, definitely feeling the cold light of day, I was suddenly dazzled. MRS EVERYMAN: Had you been sleepwalking? Was it a dream? PAINTER: More of a vision, I’d say. My eyes had been sealed together by the heaviness of bad sleep, and then suddenly a stream of daylight from the next room as the door opened and I caught sight of this foot, my headache forgotten. MRS EVERYMAN: Oh, no! You’re not going to tell us about how she seduced you, are you? PAINTER: Alas, that will have to wait for another day. What did happen was a concatenation of the senses as, after this blaze of light, there was a clattering noise of crockery and cutlery as the tray seemed to be launched like an ocean-going liner on a shimmering sea by this shapely foot, soft and…... MRS EVERYMAN: Yielding? Oh, sounds like a cheap romance novel. CRITIC: A vision of the divine Beatrice? MRS EVERYMAN: A femme fatale, more like! PAINTER: Well, you may mock. But no sooner had I glimpsed this tantalizing image than the foot retreated and the closed door returned the corridor to its early gloom. And myself to my hangover. CRITIC: Moving away from the personal genesis, are there any historical influences here? I’m seeing a bit of Edward Hopper in the suggestion of urban alienation and anonymity. PAINTER: This may be so. I’m also interested in Andrew Wyeth and his use of objects in association with people. CRITIC: The composition suggests a throwback to modernism in its depiction of detached body parts where we don’t see the whole person, with dingy interiors much as in Eliot’s Preludes poems. MRS EVERYMAN: I wouldn’t want anyone detaching my body parts. Let alone painting them. Sounds more horror movie…. PAINTER: Let’s not over-intellectualise. Yes, I wanted a sharp perspective with the geometrical doorframes to stress the impersonal, automatic aspects of an anonymous hotel. But this contrasts with the items on the breakfast tray, which show a very personal experience unique to one individual and tell her story. Hence the optimism behind the title. MRS EVERYMAN: It’s all very yellow, isn’t it? Reminds me of my husband’s jaundice. PAINTER: I think that’s apt for the parts which are about a faded glory. But I wanted to explore many other hues of yellow – ochre, mustard, golden, amber, so that the whole painting explores a variety of emotional states and becomes a tone poem or theme and variations in yellow. CRITIC: Bravo, Maestro!

£1300
£1300 (Unframed.)

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