utter toilet. why bother?

wow - who knew piscasso painted a portrait of morrissey?

I was wondering where Sharon E Smith had got to!!! I love her (yes I must say it again) 'artrocities'. This new one looks rather like it should have been called Picasso's You Are The Quarry Photoshop Nightmare #17.

Just beeeautiful Sharon, well done! I especially like the way the top of Morrissey's skull is trying to escape from the rest of his head. the squallor of the mind, indeed!!

This is horrible, I must own it. When is the full show going up? Can I get a preview? I must own the entire collection.....

Squint your eyes a bit, and I reckon that's ex-England Cricket captain Nasser Hussein doing his best Prince Charles impression.

I love when Moz portraits are displayed. The comments are always hilarious!

i see david t.'s been painting again

she's back with another of her daubs! How I've missed the game we play with things called 'guess what it is!'

It rather reminds me of the animation on the late seventies cartoon version of The Lion, The Witch & The Wardrobe.

I bet Morrissey is trying to tempt us with 'all the Turkish Delight you can eat little fan'.

Isn't Art intended to cause some sort of reaction? Judging by this thread 'Mozley' and Sharon Smith sure has. I like it, I wonder if it's for sale and if so how much she wants for it? I'm going to email her and ask.

Dear Rome,

How did my painting of Nicolas Cage end up on Morrissey's website?!

Sincerely,

Sharon E. Smith

He's just too good looking.

bids 300 pounds

1...2...

Christ, Moz is difficult to draw but not THIS difficult! (Yeh, I'm aware that this is supposed to be "abstract." Abstract portraits only work when they bring out something about the person - this does no such thing.)

Smith's portrait of Morrissey explores the themes of physical and metaphysical barriers, obstructions that have been put or placed in our way, that impede or inhibit progress, ensuring the constant repetition of negative patterns of behaviour. This cyclic vortex of human behavior, the inhibition of growth combined with an inability to move forward, is a central tenet of Smith's artistic manifesto. Combined with a Damascene realisation that all would be well, if only the blockage could be transcended, this lends a bittersweet poignancy to a study of Morrissey that attempts to chart the escape from the ever present drip of inevitability.
Smith's portrait is infused with omnipresent contradictions, a gamut of human experience with indifference banished to a lesser sphere. Belonging but not belonging, fitting on the surface but suffering from a subterranean identity crisis that screams to the passer by "I am not from here".
From childhood innocence through angst ridden adolescence, to wry adulthood this portrait charts a Salinger like journey, not of safe benign contentment, but of bitter realisation that the emperor is naked and the jig is indeed up. The dice metaphorically loaded before we begin, so often the catalyst for the artistic leap from the mediocre and humdrum.
Conversely Smith exhibits a longing and enthusiasm for life that transcends the gap between retina and canvas. All the joys and contradictions that are thrust upon us when one is successful/famous, are celebrated with aplomb through the expressive brush strokes and the use of exuberant colours.
I believe this to be Smith's most engaging and powerful work to date & as always I look forward to seeing how her work develops in the future.
I thankyou.

Sharon: Keep trying and let the cruel comments here be your fuel.

In response to the above critical appraisal I must enthuse in similar tones.

How right you are when you say: "Smith's portrait of Morrissey explores the themes of physical and metaphysical barriers, obstructions that have been put or placed in our way, that impede or inhibit progress" The inability to draw or paint are a constant inhibition to Smith's work.

You are indeed also very right when you say that the potrait suffers "from a subterranean identity crisis that screams to the passer by 'who am I? What am I?'" I may have paraphrased at the end.

Smith has indeed made "the artistic leap from the mediocre and humdrum" and then straight back again.

Jim

P.S. I love the nod of recognition to Richard III on the left shoulder - nice hump!