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Inspired by Da Vinci’s famous painting of the same figure, Kezzyn has in John the Baptist recast his favorite biblical hero as a resident of the dirtiest subway station in East Berlin. Where Leonardo’s Baptist, depicted in situ prior to his fame, went without adornment, Kezzyn’s modern biblical transplant wears a brilliant art-deco halo and holds in one hand the staff of his office; with the other, he points the way to Paradise—to be found, one hopes, merely up the stairs and out of the station. At his feet lies the torn and crumpled head of the Lamb of God, a cardboard poster he has rescued, perhaps, from the garbage. One imagines that as passengers pull to a stop before his station and depart their carriage, he will present them with his mute direction; whether his message will be heeded, in the end, is anyone’s guess.
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
Creator Earnings
John the Baptist
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AwakeningGallery
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John the Baptist
Owned by
AwakeningGallery
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Inspired by Da Vinci’s famous painting of the same figure, Kezzyn has in John the Baptist recast his favorite biblical hero as a resident of the dirtiest subway station in East Berlin. Where Leonardo’s Baptist, depicted in situ prior to his fame, went without adornment, Kezzyn’s modern biblical transplant wears a brilliant art-deco halo and holds in one hand the staff of his office; with the other, he points the way to Paradise—to be found, one hopes, merely up the stairs and out of the station. At his feet lies the torn and crumpled head of the Lamb of God, a cardboard poster he has rescued, perhaps, from the garbage. One imagines that as passengers pull to a stop before his station and depart their carriage, he will present them with his mute direction; whether his message will be heeded, in the end, is anyone’s guess.
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
Creator Earnings
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