Goodbye Horses
Release:
Release:
On Friday, September 22nd, 2017, from 9:00pm to 11:00pm, Justin Sonny Eagles will premiere his newest oil painting collection the Last Great Farce of Hope at the Loft Collective 12 S 25th St, Colorado Springs, Colorado, at the Goodbye Horses art premiere party. After exhibiting in New York and Denver this will be the first time in seven years Eagles will showcase his art back in the area he grew up in and will be the fourth self produced show Eagles has done under his Little Wee Wee productions.
Unlike the conventional art exhibit, guests will have to approach these paintings a little differently, as they follow a particular sequence. The collection follows the journey of individuals coming to America and then out west to achieve their dreams of hope during the gold rush of the 19th century, only for many life in the old west was not as pretty as they imagined. The paintings are layered with numerous patterns, questions and ideas, such as several visual clues hinting the paintings are really about the experience of life growing from how one sees the world as a child to the reality of adulthood often be hard and even cruel. Then there is a painting titled The Oppressed, which may implicate the entire collection is about rape and/or child molestation, the innocence of childhood and life destroyed in one moment of horror.
Here is the image of a woman who appears to be a working girl in a run down brothel, but unlike the common Hollywood wild west call girl, this is a grueling reminder of the realty of not only prostitution of the era, but the even greater ratio of sex slavery still currently in existence. The viewer looks at a prostitute through a decrepit window, she looks back. She tries to hide her face with a fan, but her eyes compel her fear and desperation. She does not want to be there, but she cannot leave. If her dreaded glare wasn’t enough, the decaying wood siding of the building enclosing her seems to scream in place of her vocal silence. The thick paint of Eagles’ brushstrokes expresses the pain and brings it to life, while the broken spaces between wood slats substitute deep wounds. Eagles filled these scarred spaces with reds and muddy whites, yellows, and greens to represent blood, semen and feces, the stained colors of rape and sodomy. Off to the side a bottle, which is a reoccurring prop in this collection, sits on the window sill. The bottle’s neck is molded into a hawk talon with it’s claws gripping the body tightly, a sure metaphor for the young woman who is trapped in her brutal dismay.
Guests are encouraged to search the paintings for their own interpretation and meaning as they are welcomed with an root beer float martini, some of Eagles homemade cookies, and even his mother’s homemade pumpkin bread,—all made from quality ingredients. There will be a poker table, nerf guns for high noon draw duels, and a foos ball table for entertainment. Signed limited edition metallic prints of Eagles’ paintings will also be available.
Unlike the conventional art exhibit, guests will have to approach these paintings a little differently, as they follow a particular sequence. The collection follows the journey of individuals coming to America and then out west to achieve their dreams of hope during the gold rush of the 19th century, only for many life in the old west was not as pretty as they imagined. The paintings are layered with numerous patterns, questions and ideas, such as several visual clues hinting the paintings are really about the experience of life growing from how one sees the world as a child to the reality of adulthood often be hard and even cruel. Then there is a painting titled The Oppressed, which may implicate the entire collection is about rape and/or child molestation, the innocence of childhood and life destroyed in one moment of horror.
Here is the image of a woman who appears to be a working girl in a run down brothel, but unlike the common Hollywood wild west call girl, this is a grueling reminder of the realty of not only prostitution of the era, but the even greater ratio of sex slavery still currently in existence. The viewer looks at a prostitute through a decrepit window, she looks back. She tries to hide her face with a fan, but her eyes compel her fear and desperation. She does not want to be there, but she cannot leave. If her dreaded glare wasn’t enough, the decaying wood siding of the building enclosing her seems to scream in place of her vocal silence. The thick paint of Eagles’ brushstrokes expresses the pain and brings it to life, while the broken spaces between wood slats substitute deep wounds. Eagles filled these scarred spaces with reds and muddy whites, yellows, and greens to represent blood, semen and feces, the stained colors of rape and sodomy. Off to the side a bottle, which is a reoccurring prop in this collection, sits on the window sill. The bottle’s neck is molded into a hawk talon with it’s claws gripping the body tightly, a sure metaphor for the young woman who is trapped in her brutal dismay.
Guests are encouraged to search the paintings for their own interpretation and meaning as they are welcomed with an root beer float martini, some of Eagles homemade cookies, and even his mother’s homemade pumpkin bread,—all made from quality ingredients. There will be a poker table, nerf guns for high noon draw duels, and a foos ball table for entertainment. Signed limited edition metallic prints of Eagles’ paintings will also be available.
###
