Ecce Homo (After Guercino) • Joe Forkan 2009, oil on linen, 72" x 40"
Ecce Homo Il Guercino 1647 Oil on canvas 42.25 in x 58.66 in Alte Pinakothek, Munich
Ecce Homo are the Latin words used by Pontius Pilate when he presented Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his crucifixion. The Ecce Homo is a standard component of paintings illustrating the Passion of Christ.
For this painting, I was really looking for a strong narrative with energy, physical conflict and resignation, that could shift from seriousness to the absurd and back. This painting references a scene from the Big Lebowski, in which the Dude is arrested by the Malibu police.
Whether it’s Pontius Pilate or the Chief of Police of Malibu, narrative conflict is narrative conflict, and provides a moment of tension and drama on which to build.
Six of the twelve original paintings in The Lebowski Cycle deal with the Passion of Christ: The Agony in the Garden, The Taking of Christ, Ecce Homo, The Deposition, The Lamentation, and The Supper at Emmaus. All are near completion.
Big Sur, Noon looking North • Joe Forkan 2009 oil on panel 13" x 8"
In late October, I had the opportunity to take a painting trip to Big Sur with Andrew Dickson and Eric Merrell, two Southern California artists also interested in landscape painting. It was four solid days of painting, camped less than 50 yards from the bluffs overlooking the Pacific Ocean.
Big Sur, Midday Fog • Joe Forkan 2009 oil on panel 15.5" x 8"
It’s interesting to paint with other artists, seeing how they approach the same subject – technically, formally, and also in terms of how they see. Each of us was using the interpretation of the landscape to explore something different.
Big Sur • Joe Forkan 2009 Oil on panel 15 x 7.5
Film critic Roger Ebert once wrote, “it’s not what the film is about, it’s how it’s about what it’s about.” I think that is also a fairly concise way of speaking about the challenges of perceptually based painting. The subject can often be confused with the content, and the intent of the painting (the conversation one is having about the subject, about perception and process – the act of painting). I actually find painting in beautiful places to be more difficult, as the tension and balance between picture and painting (between what and how), can be more difficult to maintain.