The series human rights is different from all the work that has come before, yet it is simultaneously a culmination of that which preceded it. Painted on dark, rich backgrounds, the faces and bodies are shown as if emerging from the darkness. It is not intended to speak directly to human rights in the modern, political sense, but rather it begs the viewer to think of the ideas of the human body as a source of Power, particular energy, radiance, and inherent complexity. this work speaks from a place of survival. The bright lights on darkened surfaces call forth the dichotomy of both hope and despair, which goes far beyond life today and extends itself to the entire history of the human condition. Shown without any contextualizing clothing or hair, these figures do not belong to any era; they float in the darkness, a beacon of light and, simultaneously, a reminder of that which is lost
The finger marks are clear in the form of the figures and the shadows surrounding them. This personal touch draws a poignant trace of personalism and specificity into an otherwise hauntingly ambiguous work. this work addresses all of humanity -- this is not a mystical otherworld, it is drawn from a reality, and because it is my reality, it is my truth. This realization of the viewer is the final piece to the enigmatic puzzle of this work: It is the human condition to create, it is the human struggle to be polarized, but it is the human right to speak ones truth. to survive.
Today, I give homage to Elie Wiesel, who won the Nobel Peace Prize for his work with human rights. Who fought for peace, human rights and simple human decency.