INTRODUCTION DESCRIPTION IN FOUR PARTS OF JABRO’S IMPRESSIVE MASTERWORK, TITLED, "MOLOCH-LIFE: THE SCREAMING SCREAM", EASTER 1967. ©.
PART I A.) AT FIRST, THE HINT TO DANTE ALLIGHIERI (1265 -1321) AND HIS THREE-PARTED EPIC POEM OF "THE DIVINE COMEDY" IS GIVEN IN SOME IMPORTANT RELATIONS TO JABRO’S THREE-PARTED TRIPTYCH.
THESE, EVEN LOOSE CONNECTIONS BETWEEN THEIR MASTERWORKS’ TEXTUAL THEMES OF CHRISTIAN MUNDANE AND SPIRITUAL CONTENTS, SUCH AS THE PHILOSOPHICAL MYTHS OF CIRCLE’S LIFE/DEATH AND REBIRTH (RESURRECTION), THERE IS ALSO GIVEN A BRIEF INFORMATION THAT THE MATHEMATICAL CONSTRUCTION OF JABRO’S TRIPTYCH IS BASED ON THE SACRED CHRISTIAN NUMBERS, SUCH AS 3 + 7 + (=) 10, AS WELL ON THE SACRED NUMBER-COMBINATION OF 7 & 77, BUT DESCRIBED IN MORE DETAILS UNDER PART II. B.) FURTHER, JABRO’S INVENTION FROM 1962, IN REGARD OF THE "CROSSED MOUTHS", AS "CONTRAST-PAIRS" IN "MOVING ACTIONS" IS BASED ON THE PRINCIPLES OF "CAUSE AND EFFECT" AND THEIR LOGICAL CHAIN-REACTIONS.
PART II A.) IN VIEW OF JABRO’S SUBJECTIVE-SUBLIMATED STRUCTUAL SYMBIOSIS OF THE THREE ELEMENTS OF TRINITY’S BODY, MIND AND SOUL, WHICH ARE FORMING THE LOGICAL CONSTRUCTION OF HER MASTERWORK’S DETAILLED AND POINTED-OUT MATHEMATICAL EQUATIONS, IT SEEMS ONLY LOGICAL THAT SHE HAS USED FOR HER TRIPTYCH THE CHRISTIAN SACRED NUMBERS, SUCH AS 3 + 7 + (=) 10, AS WELL THE CONSECRATED FIGURE-COMBINATION 7 & 77. B.) DANTE’S UNDERSTANDING OF THE IMPORTANCE OF SOUL’S PURIFICATION FOR REACHING PARADISO’S SEVEN-LEVELLED TOP - POSSIBLE MADE ONLY BY HARDSHIP’S STAGES OF "INFERNO" AND "PURGATORIO" - WAS TAKEN OVER BY JABRO AND PICTURESQUELY BROUGHT TO ATTENTION BY GENDERS’ SYMBOL OF HER INVENTION "CROSSED MOUTH = MOTHER EARTH", ©. WITHIN THIS "CROSSED MOUTH’S" SYMBOL OF FERTILICITY’S BROADBANDED, MOST DOMINANT THEME AFFECTING ALL LIVING BEINGS, JABRO HAS BROUGHT DOWN ALLTOGETHER TO A COMMON DEMONINATOR.
AT THE SAME TIME THE DEMONSTRATION OF CIRCLE’S LIFE, DEATH AND REBIRTH (RESURRECTION) IS AUTOMATICLY GIVEN AND IN ITS CONSEQUENCE THE ALSO OFFERED OPPORTUNITY OF BEING ABLE TO EXPERIENCE PARADISO’S FELICITOUSNESS, BY STICKING TO THE REFERING RULES.
PART III A.) PART THREE CONTAINS THE DETAILED DESCRIPTION OF JABRO’S WORKBOOK-DIARY REGARDING THE TRIPTYCH’S MANUAL DEVELOPMENT PROCESS AND ITS WORKMANSHIP. B.) IN ADDITION, IT FOLLOWS THE DETAILED DESCRIPTION OF THE CREATIVE HANDLING OF JABRO’S TRANSMITTED, INTELLECTUAL AND SPIRITUAL IMAGINATION INTO VISIBLE ART.
PART IV PART IV IS SUMMARIZING THE CONTENTS OF PART I – III AND AT THE SAME TIME IT DESCRIBES JABRO’S THREE-PARTED TRIPTYCH AS ONE OF HER FEW KEY-MASTERWORKS TO BE SEEN IN RELATION TO ALL OF HER OTHER WORKS OF ART.
IN OTHER WORDS, THE MENTIONED FOUR DESCRIPTIONS OF JABRO’S TRIPTYCH, REGARDING THE DIFFERENT (BUT WITH EACH OTHER CORRESPONDING), MULTILAYERED THEMES OF SPIRITUAL AND MUNDANE CONTENTS ARE INTERTWINING INTO EACH OTHER BY FORMING THE ESSENTIAL FOUNDATION OF HER OTHER, LATER CREATED MASTERWORKS.
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PART I JABRO’S masterwork, titled "MOLOCH-LIFE: THE SCREAMING SCREAM", Easter 1967, ©, is created with four huge grain wood panels (two of them are dowelled together in a right angle) to an extraordinary, impressive and most unique three-parted TRIPTYCH.
Its multi-layered themes of mundane and spiritual nature are subjective-sublimated and transformed by the artist with aid of different symbols.
Among other metaphors, they are freely based on the Italian Dante Alighieri three-parted, narrative epic poem, titled "The Divine Comedy", (ca. 1320), which describes the spiritual ways the soul has to go for its PURIFICATION, such as from INFERNO to PURGATORY for being able, at last, to reach the longed for goal of PARADISO’S TOP in the felicitousness of THE HOLY TRINITY.
(The Italian poet Dante Alighieri has lived from 1265 – 1321.)
However, contrary to Dante Alighieri’s three-parted "Divine Comedy", who has personified his journey through the underworld by describing his own spiritual experiences in reflective conversations within his two other egos, symbolised by his idol and leader Virgil (Roman poet, 70-19 BC, author of the Latin epic poem "Aeneid") and his idealised childhood-love Beatrice, JABRO avoided consciously any personifications in her Triptych. Nonetheless, in this respect, there is no doubt that any sorts of artistic creations commonly are the (unconscious) reflective, spiritual personifications of their creators and thus mainly of subjective nature. That means, likewise anybody else, JABRO (as a member of the very first “Baby-Boomer-Generation”) is too (un-) consciously influenced by her education and surrounding of the Twentieth Century’s troublesome times, cursed by the multifarious (industrial) destroying of the world’s fragile environment, consequently resulting in the irretrievable disappearance of many valuable species.
To the same time, this troublesome 20th Century was cursed also by two men-inflicted and horrendous world wars, including hundreds of smaller wars having destroyed tens of millions of human lives along going with avoidable and indescribable human sufferings in any respect! Unfortunately, it is a matter of fact that in all centuries men-inflicted holocaustic, but avoidable wars were unnecessarily imposed, by causing with their negative long-term effects unbearable burden and (religious) societal-cultural decay for all those affected, most pitiable generations of human beings and other living creatures.
So far, within JABRO’S invented and broadly facetted theme of the "CONTRAST-PAIRS IN ACTION" each other complementing, likewise with the vertical and horizontal "CROSSED MOUTH" used in her multi-levelled works of art already since 1962, the artist within has symbolised (in a subjective-sublimated manner) the human race and their genetic-based and gender-related problematic of interpersonal relationships.
In addition, their psychoanalytical dissections were JABRO’S main concern, which includes the hints to spiritual-religious spheres and the analytic-intellectual understanding of different scientific facts and philosophies’ hypothesis.
On the first two huge pieces of JABRO’S Triptych Part ONE (a) + (b), doweled together in a right angle, the holy figure-combination of SEVEN (7) and SEVENTY-SEVEN (77) is represented in 77 individually created, foreshortened MOUTHS on 7 rows, where each of them is ONE OF A KIND. (See Bible’s metaphor of Mathew 18: 21 – 22) Created as JABRO’S invented "Contrast-Pair" of "TWO IN ONE" = TWO panels doweled together in a right angle as the first Part ONE (a) + (b) of the Triptych, there are on the first left-handed panel of Part One (a) and set onto seven rows, all in all, thirty-five (35) two-dimensional mouths in half-reliefs singly modelled and foreshortened. The religious sense and content of this panel’s symbolism was described by JABRO as “the symbolical, spiritual and visual transformative representation of INFERNO’S SEVEN DEADLY SINS”. On its right-hand panel, Part ONE (b), the SEVEN HOLY VIRTUES are also symbolised, but in one-dimensional forty-two (42) praphically and thickly painted, foreshortened mouths, which have already left the INFERNO but still are in need of PURGATORIO’S different stages in view of their symbolised "PURIFICATION-PROCESS".
In regard of Dante Allighieri’s definition, documented in his three-parted "Divine Comedy", this "purification-process" is essential, because of the permanent attacks of educational and influenzal surrounding’s multi-layered, higher percentage of human nature’s negativism, which is permanently corrupting and thus repeatedly dwarfing the development stages of their immortal soul to PARADISO’S seven-levelled TOP.
Consequently, these symbolised, unnamed seventy-seven individuals (equal to "contrast-pairs in action" symbolising humans and their nature in general), are on their foreshortened way from the INFERNO (dowelled Part ONE (a) and the Part ONE (b) to their depersonalising mass-formation of the PURGATORY, which is represented by JABRO Triptych’s Part TWO in form of one huge MOUTH in front view. This enormous MOUTH has HORIZONTALLY CLOSED "lower and upper" lips symbolising purification’s different stages.
It is created in JABRO’S unpersuaded and unique art style of her "GRAPHICPAINTING’S Contrast-Pairs", by using a palette of elementary reddish structures and plain-red surface formations on white ground.
However, this big mouth of the Triptych’s Part TWO - representing the then impersonalised crowd of seventy-seven (77) mouths equalised "all in one huge mouth" - does not mean their end-station, indeed, because it is also picturesquely and literally "walking/moving" for itself - directly to Part THREE of JABRO’S Triptych.
This symbolised movement through the surface of Part TWO’S Panel as the march of a single, huge mouth to the Triptych’s Part THREE, is visible made with its position in the panel’s format, which is not in the middle, but on its right hand side for demonstrating the way already was gone and the way still has to be went. This fateful way of the Triptych’s Part TWO leads directly into the exhaustive gigantic, sidewards VERTICALLY OPENED MOUTH of its Part THREE in confirmation of JABRO’S concept regarding the symbolism’s sense and content of the vertical and horizontal "CROSSED MOUTH". In the consequence, after INFERNO’S first stages of soul’s purification of Part ONE (a) and PART ONE (b), Part TWO of the Triptych is symbolising the following essential stages of PURGATORY’S offered PURIFICATION and within the opened opportunity to reach PARADISO’S lowest, medium and highest stages to the TOP.
Then, following Dante Alighieri, reward will be the longed for eternal Felicitousness in THE HOLY TRINITY.
For signifying the picturesque actions of "eating" = destroying of the first mundane life = DEATH and within given opportunity for REBIRTH (or RESURRECTION) of the second spiritual life in its sacred uniqueness, JABRO has created one three-dimensional, big blood-trop, (*), which is leaving on its bottom the one-dimensionality of the Triptych’s Part THREE symbolising an exhaustive gigantic, vertically and sidewards-opened mouth.
(* Created with hard two-component material, called "liquid wood") That means in the logical consequence of this kind of religious philosophy, the demanding ONE WAY Purification of the soul is then the only thorny path to go for reaching the longed for PARADISO, by respecting its different, but seven cleansing stages to the top of the HOLY TRINITY.
Summarizing pointed out; JABRO Triptych’s themes are based on different CONTRAST-PAIRS in ACTION in reference to the relative logical CAUSE- and EFFECT-PRINCIPLES. They have been symbolised by JABRO’S invention for the arts (1962), in means of her subjective-sublimated, multi-levelled and oppositional themes of “Mother Earth’s Symbol as Crossed Mouth”.
JABRO © 1967.
******************************************************************* PART II
A.) IN PART TWO, THE MAIN-FOCUS LIES ON THE DETAILED EXPLANATION AND PERFORMATION WHY JABRO’S TRIPTYCH HAS TO BE DESCRIBED AS A MATHEMATICAL CONSTRUCTION, BASED ON THE SYSTEM OF EQUATIONS WITH AID OF THE CHRISTIAN SACRED NUMBERS OF
3 + 7 + (=) 10, AS WELL THE SACRED FIGURE-COMBINATION OF 7 & 77. B.) IN ADDITION, IT FOLLOWS THE REPEATED BUT MORE DETAILLED DESCRIPTION OF JABRO’S SUBJECTIVE-SUBLIMATED UNDERSTANDING OF MUNDANE AND SPIRITUAL CIRCLE ’S LIFE, DEATH AND REBIRTH. THIS MULTILAYERED THEME IS VISIBLE MADE WITH AID OF HER TRIPTYCH’S SYMBOL THE "CROSSED MOUTH", BY JABRO CREATED IN SOME IMPORTANT RELATIONS TO DANTE’S PERCEPTION OF CHRISTIANITY’S MUNDANE SOCIAL AND MORAL LAWS AND SPIRITUAL MYTHS. C.) AT LAST, IT FOLLOWS THE DESCRIBTION OF THE FURTHER EXTENTION AND SUMMARIZING OF JABRO’S PHILOSOPHICAL UNDERSTANDING OF PART B.) IN RELATION TO DANTE ALLIGHIERI’S THREE-PARTED EPIC POEM "THE DIVINE COMEDY", WHICH LEADS ON SEVEN DIFFERENT FORMS OF DEVELOPMENT TO THE PARADISO AS THE FINAL AIM OF ALL KIND OF HUMAN EFFORTS.
The JABRO Triptych’s multi-levelled themes of RELIGIOUS, PHILOSOPHICAL and PSYCHOANALYTHICAL term and content are symbolising not only different stages of mundane and spiritual LIFE, DEATH and REBIRTH, which are freely based on DANTE’S three-parted epic poem, the "DIVINE COMEDY", but also has lend some subjective-sublimated elements from Einstein’s Relativity Theory freely interpreted ("it looks alike reality but, indeed, is sur-reality’s wrong impression") in regard of perspective’s picturesque foreshortening of her symbol "Crossed Mouth", demonstrated in her masterwork’s dowelled Part ONE (a) + (b).
In addition, there are some within connected, mathematical equations "to play with", as the below samples are confirming.
(Prof. Dr. Albert Einstein (the German physicist) has lived from 1879 – 1955.)
(Dante Alighieri (the Italian poet and philosopher) has lived from 1265 – 1321.)
In reword:
On the three panels of JABRO’S Triptych, the three-parted themes of the circle "Life, Death and Rebirth", as well her "Contrast-Pairs in Action", are picturesquely symbolised in the "CROSSED MOUTH", which is therefore THREE times subjective differently sublimated on each of its three panels.
On that score, the Triptych is based on the dominant sacred NUMBER THREE (3), as well on the dominantsacred NUMBER SEVEN (7), as "seventy-seven" mouthson "seven" rows and also their summarization in the sacred NUMBER TEN (10). Subsequently, the following THREE numbers - symbolising in its TRILOGY/TRINITY/TRIPTYCH Christian spirituality’s term and content - are used in JABRO’S Triptych as
"THREE IN ONE", (©) likewise: 1.) The Holy Trinity (Three in One) = 3 THT
2.) Seven Deadly Sins = 7 SDS, including Seven Holy Virtues = 7 SHV, as well the
3.) Christian Ten Commandments = 10 CTC.
Logically, All THREE of these symbolised and sacred numbers of Christian believing are mentioned in the following calculations, by confirming their representation with regard to the Triptych’s philosophical, mathematical and visual-figurative sense and content. That means, among the two others numbers (as three and ten) the symbolised sacred figure, such as SEVEN (7), is THREE times used in the first part of JABRO’S Triptych, likewise SEVEN (7) rows of SEVENTY - SEVEN (77) mouths, equal to the sense and content of Bible’s metaphor (Mathew 18: 21 – 22) In this combination the sacred number SEVEN offers different opportunities to be presented in a mathematical sort of playful calculation, but with different, indeed, very relevant results, such as: 3 x 7 = 7 + 7 + 7 or 3 + 7 + (=) 10, as well Mathew 18 : 21 – 22 =
7 x 77 = 490 + 7 x 7 = 490 + 49 = (539) or
7 x 7 + 7 = 49 + 7 = (56) or
(7 + 7) + (7 + 7) + (7 + 7) + (7) + 7 = 49 + 7 = (56),
or 7 x 7 x 7 = 49 x 7 = (343) or
(3 + 3 + 1) x (3 + 3 + 1) x (3 + 3 + 1) = (343), and so forth. According to the Christian Bible historical archive of the Bible Wheel
the number (343) is relevant to THE ARK OF GOD (1 Sam 3.3) as well
"And GOD said" (Gen 1.3), "And The LORD Proclaimed" (Ex 34.6), also "To become, be made" (Gal 4.4), "May glorify" (Jn 17.1), "RECEIVE" (Jn 20.22), "Commune with your own heart" (Ps 4.5), "Evil" (Rom 3.8), "Uncleanliness"
(Gal 5.19) Another result of JABRO’S calculations is also the number (56) and used only one time in the BIBLE, according to WIKIPEDIA. This number comes up in relation to the ancestry of JESUS, where (56) male names are mentioned there. They are to find in the first eleven verses of the Gospel of Mathew, until the deportation to Babylon. In addition, the sum of the occurrences of all numbers of the Bible, which are multiple of the number 22, gives also the number (56). Also, the words VIRGIN and CURSE are used (56) times in the OT and the word INJUSTICE is as well (56) times mentioned in the BIBLE. JABRO’S "number-game" in relation to her masterwork’s SEVENTY-SEVEN (77) mouths on SEVEN (7) rows has also resulted into the number (539). ********************************************************
Contrary to that mathematical "calculation-game", JABRO’S following number-combinations are representing simple philosophical meanings only, such as: 3 THT + 3 THT + 3 THT + 7 SDS/SHV + 7 SDS/SHV +7 SDS/SHV
= (3 + 7) + (3 + 7) + (3 +7) = 3 THT x 10 CTC = 30 THT/SDSSHV/CTC
= 3 x 0 = 0 + 0 + 0 = 0 = ZERO = AD ABSURDUM = ENDLESSNESS = CIRCLE = NEW START of LIFE’S impregnating CONCEPTION and within connected DEATH!
IN REWORD: The term and content of those calculations are confirming that JABRO’S Triptych is based on the religious philosophy of the THREE symbolised Christian sacred numbers, such as 3 + 7 + (=) 10. Herewith, the two main "Contrast-Pairs" of (1a) MUNDANE and (1b) SPIRITUAL circle’s (2c) LIFE and (2d) DEATH have been established by JABRO as the main-theme’s realization of subjective-sublimed spirituality from her (un-) conscious mind.
JABRO 1967, ©.
************************************************************** PART III
DESCRIPTION OF SOME DETAILS FROM THE WORK-BOOK DIARY, REGARDING THE CREATION OF JABRO’S MASTERWORK, TITLED: "MOLOCH-LIFE: THE SCREAMING SCREAM", EASTER 1967, ©.
A.) SKETCHES
At first, JABRO produced four sketches of her planned, in the end three-parted masterwork, executed in four precisely calculated parts of different sizes.
The same sort of calculation was brought to the accurate partitioning of the panels’ given format, as well as to the different mouth-shaped relief-sculptures and “Graphicpaintings” modelled and painted onto them.
The FIRST sketch contained in fixed sizes drawings of thirty-five (35) foreshortened mouths on their seven rows, reaching from the left hand side to the right hand side across the middle of the given format.
The SECOND sketch contained as well drawings of best calculated forty-two (42) foreshortened mouths on seven rows across the format’s middle, reaching from one side to the other.
The THIRD sketch contained only one single huge, horizontally-closed mouth in front-view, positioned not in the middle of the given format but on the viewer’s right hand side.
The FOURTH and last sketch of the planned masterwork contained as well only one gigantic, vertically-opened mouth in the side-view, exhaustively engrossing the given format.
B.) PREPARING OF THE WOOD-GRAIN PANELS
The sketches with their different fixed sizes of the four huge parts of JABRO’S planned, gigantic masterwork were then brought to a carpenter, who used his largest saw-machine to cut out the desired sizes of the four massive parts of grain-wood panels.
After the home delivery of the four huge, heavy panels by the carpenter’s company, the artist has primed and then painted their surface with white, waterproof acrylic.
Then, having finished properly this working-process in the artist’s home (-studio),
the carpenter was asked to come again for doweling together (in the right angle) two of the primed and painted panels.
At first, by the aid of an electric drill, a large quantity of round, a bit bigger than dowel-sized holes was brought into the opposite flats of both panels, by keeping the respective distance of approximately three to four centimetres to each other.
When this working process was done, the hard wooden-dowels were glued with professional accuracy into the holes of one panel’s side part.
Once finished and after a drying period of a couple of days, the carpenter came the third time to the artist’s home for doweling together the two huge and heavy panels.
At last, they are forming now (in a right angle) the Part ONE (a) + (b) of JABRO’S planned Triptych.
As mentioned, on the viewer’s left-hand side of the doweled Part ONE (a) + (b), the thirty-five (35) foreshortened mouths on their seven (7) rows have been exactly calculated on referring sketches and then in enlargements drawn onto the first (a) of the two doweled panels.
C.) PREPARATIONS FOR MODELLING IN TWO-DIMENSIONAL RELIEF-SCULPTURES THE THIRTY-FIVE (35) MOUTHS ONTO THE TRIPTYCH’S VIEWERS LEFT HAND SIDE PANEL (a) OF DOWELLED PART ONE
Though, before all these many mouths were modelled in voluminous two-dimensional reliefs out of (two-components) "liquid wood", at first, for their stabilisation, long and thick nails have been hammered by JABRO into the panel in the contours of the mouth-shaped drawings. Afterwards, the artist has accessorily filled them further with nails, still extra stabilised by additional connections with each other within many metres of fine but tough wire.
Afterwards, in a time-consuming, painstaking manner, the artist used the "liquid wood" (a hard-drying two-component material), brought onto the wire-connected nails in small quantities only, because of its fast drying-time.
When finished with modelling, all foreshortened thirty-five (35) mouths on their seven rows were smoothed at first with a grinding-machine and then with different grades of sandpaper.
For creating not only in opposite themes, but in working-techniques and art-styles too JABRO’S "Different Contrast-Pairs IN ONE Artwork", the artist has all those (solely modelled) mouths painted in plain-red colour, wherewith they have been made dependent on light and shadow for giving them life in modelling plasticity.
These mouths, modelled in TWO-DIMENSIONAL relief formations, are soaring now voluminously out of their ONE-DIMENSIONALITY, whereby (from left to right) the first seven mouths on their seven rows have been parted to 50 %, expecting from viewer to complement the other half parts in his/her imagination OUTSIDE the panel’s one-dimensionality.
To the same time, the halved mouths are demonstrating their (left to right) movements from the imagined outside sphere by "being on their way" into the inside area of the panels.
D.) AFTER FINISHING PART ONE’S LEFT HAND DOWELLED PANEL, (a) IT FOLLOWED THE CREATION OF FORTY-TWO (42) FORESHORTENED MOUTHS ON THE RIGHT HAND SIDE DOWELLED PANEL (b). THEY HAVE BEEN CREATED IN THE OPPOSITE WORKING-TECHNIQUE OF PANEL (a), SUCH AS JABRO’S OTHER “GRAPHICPAINTINGS”, NOW BROUGHT ONTO THE SECOND DOWELLED PANEL (b). THOSE “GRAPHICPAINTED’ MOUTHS ARE VERY CONTRARY TO THE PLAIN-RED PAINTED AND EACH VOLUMINIOUS, SOLELY MODELLED RELIEF-MOUTHS OF PART ONE (a). THAT MEANS, ON THE OTHER DOWELLED PANEL OF PART ONE (b), OF JABRO’S THREE-PARTED MASTERWORK "MOLOCH-LIFE: THE SCREAMING SCREAM", EASTER 1967, THE ARTIST HAS CREATED THE FORTY-FIVE (45) MOUTHS ON THEIR SEVEN ROWS, BY USING HER INVENTED WORKING-TECHNIQUE AS AN EQUAL COMPOSITION OF GRAPHIC AND PAINTING, BY JABRO CALLED "GRAPHICPAINTING". This happened by using thickly brought on paint within a broad palette of yellow sprinklers and light red, as well dark red-brown colours as ground- and sculpturing shadow simulations.
The desired impression of plasticity contained by the forty-two (42) "graphic-painted" mouths is given by the professional use of painted light and shadow’s co-relations.
TOGETHER, the two doweled panels of the artist’s Triptych, Part ONE (a) + (b), are boasting seventy-seven (77) foreshortened and singly created mouths, whereby each of them is confirmed as ONE OF A KIND, positioned on seven (7) rows.
E.) THE NEXT STEP IS THE DESIGN OF THE TRIPTYCH’S PART TWO
(THREE)
Part TWO of the Triptych is the smallest of the three (four) panels, but serves as a summarization of JABRO’S "Contrast-Pairs" represented on the two doweled panels, described by JABRO AS PART ONE (a) + (b) of her Triptych. On its primed and then white painted surface JABRO has created one huge, single mouth in front view with horizontally closed lower and upper lips.
The work technique of Part TWO is a combined repetition of the seventy-seven differently created mouths on their seven rows of Part ONE’S doweled together two panels, such as the "plain-red" painted and in relief-sculptures modelled thirty-five mouths.
Contrary to them, the other forty-two mouths have been created as "Graphicpaintings", again confirming JABRO’S invented "Contrast-Pair". That means, the huge mouth on panel Part TWO was created with two working-techniques in ONE, since it is basically "plain-red" painted, except the "graphic-painted" slit between the horizontal and firmly closed two lips, respective its cobweb-like graphical extensions drawn into the "plain-red" painted surface of the big, single mouth.
F.) THE LAST UNDERTAKING IS THE TRIPTYCH’S CONCEPTION OF PART THREE
The biggest panel of the Triptych’s Part THREE boasts one exhaustive, slightly abstracted, plain-red painted gigantic MOUTH from the side-view with its vertical opening reaching return from the bottom to the top into the middle of the given format.
For demonstrating the wide opening on its back, red mouth-lines were painted, bowed together, to a bunch of "swinging" red lines.
That happened with aid of sticking tapes, which then were removed, after the proper finishing of the working process.
In addition, concerning JABRO’S "CONTRAST-PAIRS IN ACTION" and earth’s gravidity law, one huge THREE-DIMENSIONAL "blood-trop" is picturesquely "leaving" the ONE-DIMENSIONALITY of JABRO’S Triptych Part THREE.
It was modelled by the artist with hard-drying two-component material, (*) likewise the thirty-five mouths on the viewers’ left hand side doweled panel of JABRO’S Triptych Part ONE (a).
(* Liquid wood")
The working-process of the huge "Blood-Trop" happened by using six long and strong steel nails, which were hammered in a row into the panel’s bottom side-part. Then, a stable but bendable wire was twisted around the nails in trop-formation. Afterwards, the hard-drying two-component material ("liquid wood") was brought in small quantities onto that stable wire-construction in trop-formation. Then, the ready modelled trop was smoothed by the artist with different grades of sand-paper and after that painted in the same plain-red paint of the thirty-five (35) mouths modelled in relief-formations on the viewers’ left hand side doweled Part One (a) of JABRO’S three-parted masterwork.
G.) At last, JABRO used for the essential protecting frame round about the panels a warmed-up, thus more flexible, white-coloured, thick and tough vinyl strip of the same width as the (doweled) wood-grain panels of Part One (a) + (b), Part Two and Part Three. That means, those respective edges/boundaries (opposite flats) of all three (four) wooden grain panels have been firmly surrounded with glued on vinyl strips stabilised by screwed in screws.
JABRO © 1967.
================== ********************************************************* EXTENTION OF PART II, described under E.) IT FOLLOWS IN MORE DETAILS THE DESCRIPTION OF THE PHILOSOPHICAL CONTENT AND MEANINGS OF JABRO’S TRIPTYCH, TITLED, "MOLOCH-LIFE: THE SCREAMING SCREAM", EASTER 1967.
JABRO’S three-parted Triptych contains three times the theme (CROSSED) MOUTHS IN ACTION and as a result three times DEATH of the previous stages of SOUL’S PURIFICATION PROCESS.
Consequently, the Triptych’s three parts are containing as well three times death’s antonym REBIRTH, based on the end of the previous successfully finished stages of soul’s purification, up to the TOP of PARADISO in THE HOLY TRINITY’S ETERNAL FELICITOUSNESS!
IN OTHER WORDS: Similar to the conception of DANTE’S three-parted epic poem the "Divine Comedy", JABRO’S subjective-sublimated themes of the soul’s essential purification by different stages of seven, symbolised in her masterly created three-parted Triptych, are marking each time the DEATH of the previous reached STATUS QUO and within the offered opportunity of REBIRTH to higher levelled liminality of seven. That means (in view of the Triptych’s spiritual sense and contents) that all the THREE parts of it are containing (differently created) each time "DEATH and REBIRTH" in the logical progress’s consequence, starting from the lowest, up to the highest stages of soul’s spiritual "PURIFICATION-PROCESS" of seven stages, symbolised as well three times by the multilayered, figurative perception of the "(CROSSED) MOUTH".
In the same or similar way, the multilayered themes in JABRO’S masterwork here have been handled (titled, "MOLOCH-LIFE: THE SCREAMING SCREAM", Easter 1967), her other masterworks too are containing hidden, or openly presented, the symbols of MOTHER EARTH’S FERTILITY, likewise the horizontal and vertical "CROSSED MOUTH". This, broadly faceted, symbol is giving birth to circle’s CONCEPTION of LIFE and within subsequently DEATH, as well "NEW START" in the "REBIRTH’S" RESURRECTION, therewith symbolising a cycle of three (actually six!*) different actions.
(* (I.) Conception, (II.) Birth, (III.) Life, (IV.) Death, (V.) New Start/ Rebirth,
and (VI.) Resurrection) JABRO © 1967.
************************************************************** PART IV SUMMARIZING OF THE PARTS I - IV AND AT THE SAME TIME DESCRIPTION OF JABRO’S THREE-PARTED TRIPTYCH AS ONE OF HER FEW KEY-MASTERWORKS IN RELATION TO ALL OF HER OTHER WORKS OF ART.
The Triptych’s dowelled Part ONE boasts on its left hand side panel thirty-five (35) two-dimensional modelled reliefs on seven rows. They are symbolising "THE SEVEN DEADLY SINS" on their way from OUTSIDE hemispheres INTO INFERNO’S own sphere. For demonstrating their endless march of the imagined outside hemispheres INTO the Triptych’s INFERNO of Part ONE, the first seven mouths on their seven rows are vertically halved, expecting from the viewers to replace the other halves in their imagination outside of JABRO’S Triptych.
In the second, viewers’ right hand side panel of part ONE, the forty-two (42) created mouths are, as well, "one of a kind", however, this time they are not moulded in reliefs, but each solely and differently "graphic-painted" with thickly brought on paints in means of a broad palette of light red and dark red-brown colours reflecting in the painted LIGHT and SHADOW life - and death’s inevitable roundabouts. Contrary to "The Seven Deadly Sins" of the first dowelled panel of Part ONE, they are representing in religious metaphors "THE SEVEN HOLY VIRTUES" each other equally completing in their negativism and positivism as JABRO’S invented "Contrast-Pair" in form of "TWO IN ONE". In the consequence, JABRO describes them as her invented, classical CONTRAST-PAIR in ACTION, because they were coming from the outside hemispheres to the inside spheres of INFERNO’S different PURIFICATION stages, demonstrated by the mentioned seventy-seven (77) mouths on their seven rows of the Triptych’s
Part ONE.
In addition, within Inferno’s different stages of their purification they are symbolising the DEATH of their previous sinful mundane and spiritual lives and within to the same time REBIRTH to higher levels of soul’s essential PURIFICATION.
After the seventy-seven (77) individuals have left INFERNO’S different purification stages of the Triptych’s Part ONE, they were symbolically transformed in the PURGATORY’S Part TWO to one huge mass-formation, figuratively represented by one enormous, single mouth in front-view. The horizontally-closed "lower" and "upper" lips of this enormous mouth are symbolising the lesser and higher levels of PURGATORY’S added, essential purification needed to bring DEATH again to Inferno’s previous finished lower cleansing-stages. They are symbolised by the (third times) repeated DEATH and REBIRTH of the previous purification stages leading to PARADISO’S TOP on the THIRD and last PART of JABRO’S Triptych. Within the widely (sidewards and vertically) opened and engulfing huge mouth, it is symbolised as the masterworks summarization of the entire complex theme of conception/birth, life/death and rebirth/resurrection. However, CONTRARY to Dante Alighieri, who believed in the commonsense of different purification stages of seven and their, within connected, logical reward of rebirth in PARADISO’S Blissfulness, JABRO invites the viewer to choose for him/her/itself, if the THIRD PART of her Triptych (created as an all-engulfing, huge and sidewards vertically opened mouth) is able enough to interfere the essential symbol of HOPE being rewarded with REBIRTH/RESURRECTION into PARADISO’S highest End-Stage of Felicitousness, or may choose the other, contrary way.
As mentioned under (3.) the huge mouth of Part TWO is also created in JABRO’S art-style of a "Graphicpainting" (©). Its working-techniques are managed by a palette of different reds and reddish-browns (laid in layers on each other) by simulating the desired plasticity with aid of diverse nuances from light red to dark red-brown, covered with a net of fine lines, partly scratched with a tool into the still wet, thickly brought on paints.
So far, JABRO’S PURGATORY of the Triptych’s Part TWO represents now in one huge mouth the seventy-seven (77) individuals of Part ONE, melted together to one transformed, supervised-meaningless and thus manageable mass-formation AFTER they have been going through the first different cleansing stages of the INFERNO.
Interestingly enough, ten years later, this multilayered theme with elements of Christian mythology, psychoanalysis, as well ancient and modern philosophy is represented again in JABRO’S oil-painting, titled "ODE TO B. WILLIKENS", 1976, but without the offered engine HOPE, definitely given in the artist’s three-parted Triptych "Moloch-Life: The Screaming Scream", Easter 1967.
The summarization of the JABRO Triptych multilayered themes’ picturesque transformations of "Contrast-Pairs", likewise these of the INDIVIDUAL’S DEATH by its transformation to the MASS-FORMATION, can be also interpreted contrarily by means of a positive/religious signification, such as the soul’s REBIRTH and RESURRECTION after its death trough the essential one-way purification to gain eternal, spiritual life in PARADISO’S felicitousness.
However, to the same time it can be described as the negative end = death of INDIVIDUAL’S spiritual freedom of subjective developed intellect and mind based on natural tendency’s 20 % flexibility of education and surrounding, contrary to its 80 % of restricted, unchangeable genetic characteristics.
Despite the matter of fact, JABRO avoided making any personification within this masterwork, she nevertheless relays on her belief that each human being contains - more or less - in its genetic structure the GOOD/LIGHT and the BAD/DARKNESS, whereby not only negativism as "the Bad=Sins" has to be cleansed by the different stages of Inferno and Purgatory, but also positivism as "the Good=Virtues", because being threatened permanently by any kind of contestations and seductions. JABRO © 1967 (Revised 2005, ©.) |
