Edward E. Boccia Dreams of Sea Myth, 1958, oil on canvas diptych, each panel 47 x 23, Collection of The Artist Trust
Fresco like matte surface is matched by a whirling fluid dynamism in Boccia’s early paintings such as Sea Myth, 1958. In the exhibition catalog published on the occasion of one of many retrospectives, the artist comments on the significance of the sea in his work:
“And yet, it is the sea—that vast and primal home of early origins—which revitalizes, in its ebb and flow, the very soul wherefrom my stirrings take their form.” He elucidates that as well the white sail is the “torn spirit” the upturned boat is a metaphor for birth, what the artist calls a “world embryo” who will stop Nereus’ abduction of the bird woman.” (Some Notes by the Artist” in E. Boccia A Retrospective Exhibition. October 30 – December 8, 1960. The Pius XII Memorial Library, St. Louis University, St. Louis, Missouri).
Edward E. Boccia Nereus Reborn, 1960, oil on canvas triptych, center panel 93 x 48 and side panels: 93 x 25, Collection of University of St. Louis, Missouri
Recent article on Boccia and his links to modernist mid century artistic practice and critical reception.“Cezanne’s Apple and Edward E. Boccia Hierarchy, Revolt and Artistic Innovation in 20th-Century America.” by Rosa JH Berland, Ekphrasis (2067-631X) . 2015, Vol. 13 Issue 1, p118-141. 24p
The reconstruction of the twenty-first-century imagination (ideologies that shape our “imagined world”) and aesthetic view through the “authentic” modes of abstraction, conceptualism, and the lens of media and digital technology has led to a new way of understanding and experiencing creativity. While these are certainly new or original critical experiences, there are other types of creativity, ideologies and imaginary worlds that are quite separate, and sometimes polemically opposed to this genre of making and looking. An example of this type of creative visualization and boycotting of the supposedly authentic gesture is the work of the late American artist Edward E. Boccia, who devoted much of his life to a series of panel paintings that take as their subject problems of politics and society, as well as religious experience in the twentieth century. Made between 1956 -2006, the large scale altarpieces represent the phenomenon of figural creativity produced in traditional studio mediums in mid- to late twentieth-century America.
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Copyright of Ekphrasis (2067-631X) is the property of Babes-Bolyai-University, Faculty of Theatre & Television.