| Dialogue
between Pamela Joseph and Pick Keobandith about how the Madonna
series evolved |
| |
Pick
Keobandith: What is the attraction of the image of the Madonna
for you?
Pamela Joseph: The Madonna has always been an intense
attraction for me on a personal level. I was raised a Catholic,
fascinated with the concept of the Virgin as the ideal of feminine
perfection, the ultimate symbol of strength, purity and power.
But that viewpoint had a misogynist way of thinking that denied
a woman’s sexuality.
However, the Virgin was the ultimate survivor. The ancient Christian
attitude was that a woman was an oven in which the bread/ body
was baked. Women were deemed submissive and being second to men.
Like women of today, the Madonna had to endure and struggle for
recognition. My work is about the equality of all women. Sex is
a relevant part of life. Women need to survive and if that means
accepting their sexuality and using it to their advantage, then
that is their right.
PK: As you know Spain is a Catholic country and quite
conservative. Why did you choose to show the Madonna in Barcelona?
Don’t you think it is a difficult subject for your new public?
PJ: I realize that Spain is a very religious country,
and I certainly don’t intend to insult anyone. I have never
been to Spain but have heard from all reports that Barcelona is
a liberal and contemporary city that prides itself on its openness
to new ideas. The Madonna is a symbol of purity in these works
and her presence is used to heighten the duality and contradiction
in our society.
Look at Miro’s work from around 1933. He did a series of
collage/paintings that were highly erotic and graphic, using images
of women. However, the pieces had a sense of playfulness and humor.
I hope the Madonna works will be similarly appraised.
PK: Mary is the most celebrated woman. She has inspired
several centuries of art works.
But looking at your beautiful and funny Madonna it seems that
she’s the first of modern woman. Through your representation
aren’t you questioning the virginity of Madonna ? Aren’t
you trying to wipe a taboo as some experts who think she is a
woman in flesh (I mean with her own sexuality)?
PJ: For centuries there has been controversy over whether
the Madonna was truly a virgin. I am not about to debate that
issue. I interpret the immaculate conception as a metaphor rather
than a reality. What interests me are the consequences of the
Virgin being regarded as such an untouchable being. For all women
she is the impossible dream which can never be attained. Her purity
only accentuates our weaknesses and imperfections.
I am more amused to consider the fact that she did not need a
man to have a child. She was surely a most independent and modern
woman.
PK: As far as I remember you have done some of Madonnas
in Roma. Did the atmosphere (the religiosity) of this town influence
your painting? And what about the masters: Da Vinci, Verrochio,
Della Francesca ... and so on?
PJ: The two winters that I spent in Rome as a Visiting
Artist at the American Academy greatly influenced my perceptions
of the Madonna.
Throughout the city of Roma, there were often unexpected juxtapositions
of the sacred and the profane: erotic scrims on buildings would
be backdrops for a provocative Bernini sculpture, or a Virgin
shrine enclosed in neon would be next to a suggestive movie poster.
The Italians have an easy acceptance of these conflicting narratives.
For centuries they have lived with the image of the Madonna as
part of their cultural heritage. Modernity has now imposed a changing
reality that they rarely question. This prevailing attitude would
never exist in America.
The affect of the old Masters was extremely important to the development
of my paintings and drawings. We traveled extensively in Italy,
Naples, Pompeii, Florence, Sienna, Venice, and were awed by the
beauty and skill of the ancient artists. I fell in love with Michelangelo
Buonarroti. An Da vinci. The paintings of Duccio di Buoninsegna
and Fra Angelico were a revelation. In Venice seeing the work
of Bellini and in Florence a show of Parmigianino were a few of
the many moments of wonder. |
| |
|
WORKS
IN THE EXHIBITION
click on any image or title to see a larger version |
|
| |
| |
| |
 |
Flamenquista
2004
watercolor & silver leaf on paper
22 x 23 in. |
|
| |
 |
 |
Non
Resisto (front view)
2004
gouache on paper
22 x 16 x 1 in. |
Non
Resisto (left & right view)
2004
gouache on paper
22 x 16 x 1 in. |
|
| |
 |
Musetta
2004
watercolor & gold leaf on paper
22 x 30 in. |
|
| |
|
| |
| |
| |
|
| |
|
| |
|
| |
|
| |
|
|
