My previous art cubes used appropriation to present opposing two-dimensional views of womanhood in religious art history.
This time that same self-transformation has a much larger scale. (Each of the black component pieces is an eight inch cube.)
I thought I was finished creating art about the whole Creation vs. Evolution argument last fall, but that polyptych was a little too idiosyncratic to read as such. (I am not denigrating it. The project was very personally satisfying, but it was a bit subtle for critiques.) I think the entire debate is a red herring caused by a clash of literal and figurative language. It all comes back to the concept of paradigms, or mutually incompatible worldviews (neither of which is completely understood or researched).
In short: it’s a silly tempest in a teacup that I only bother to notice because it comes up often enough to trash sincere conversations. Both sides enrich our culture, and it would be a tragedy if either were censored out of existence.
One response to “Yoshimoto cubes, part 3”
[…] For previous posts leading up to this cube, please consult “Yoshimoto cubes,” parts 1, 2, 3, and 4. […]