Of all the art works the two series of triptychs by the name Three Studies for Figures at the Base of a Crucifixion, first done in 1944 and the next done in 1988 were particularly striking to me. They allowed for a certain sense of dualism within repulsion and horror. The three figures (based on the Eumenides—or Furies—in Aeschylus’ Oresteia) are deformed, anthropomorphic creatures with hanging flesh, skinless muscles that sit on platforms and stools as they bare teeth at the observer.
In the first instance the three images come across as creatures filled with rabid rage waiting to tear away from their orange and red environments, but as one observes them for longer the creatures also seem to be writhing in pain, as if being ordered and twisted and contorted to fit within environments and act out a circus before visitors of the art gallery. This feeling of simultaneous fear and pity that the triptych provokes within the observer seemed to be much more valuable to me than some of his other works. Within these two series both being more or less identical I liked the later one but couldn’t help thinking, if it was my architectural education that naively demands a certain aesthetic of colour combination, proportions, finish and frame style.