Michon Weeks
Michon Weeks finds inspiration in late medieval liturgical artwork. Her paintings often isolate and abstract selected areas of historic imagery, pushing them beyond visual resemblance. For example, Weeks’ painting, Hence, is in conversation with Duccio’s Maestà, The Temptation of Christ on the Mountain. Weeks focuses on Christ’s finger, which casts off the devil, and transforms it into a disembodied rectangular prism hovering in space. Art historian and curator Laura Wertheim Joseph observes in her exhibition catalog essay that the finger “seems to be an emblem of the human struggle to find clarity in the face of uncertainty.” Taken as a whole, Joseph notes that Weeks’ paintings “raise questions about the role of uncertainty in our lives, and the role of vision in grappling with that uncertainty.”
Read more about Weeks’ work in Joseph’s full essay on page 19 of the exhibition catalog.
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