Flowers of Evil


Rose - ink on wood 50x50cm 2011


Rose - ink on wood 50x50cm 2011


Orchid - ink on wood 50x50cm 2011

Before knowledge of good and evil, before morality or empathy, there was Lilith, the first wife of Adam, who could transform herself into malign creatures or mischievous spirits. She appeared to Eve as a serpent, and of course since then she exists in every woman ( and every man) . She rarely reveals herself, except on occasion through the artist or criminal.
Like Lilith, the thief obeys the laws of our deepest primeval impulses, as an eagle fixing his prey or as a passing seagull swoops and dives on the fish. The thief has no footsteps . In dead silence, he glides, then snatches. In an instant the rose is separated from her shadow which is left, softly fraying around her edges, astonishing the empty white curve of the vase. The thief does not co – operate – he only desires; the taking is more important than the rose herself.
Doris Schläpfer’s art belongs in this archaic world, where the tearing apart of light from darkness is still new and overwhelming, and whose regions are accessed only by shaman, or artists, (or thieves .)
Of course this is not painting in the traditional manner of interplay or process between brushwork and responsive canvas. Doris paints on gessoed hardboard. The image is not restrained or changed by absorbent material. The marks are fluid, moving freely across the surface while the depths of blackness remains one dimensional. The liquid ink is flowing until the hand of the artist drops in mid – flight. The conceptual nature of Schläpfer’s work is surprisingly highlighted by its opposite genesis – Instinct and impulse are subtly controlled through intuition and imagination.
With targeted concentration, the thief has accomplished his action; he, and the rose have become as one; the painting is our witness.

Kathleen Burlumi

Copyright Doris Schlaepfer 2012