Our exploration of GNAY’s life (so far), as told through his shoe portraits, continues with this disturbing but brilliant acrylic on canvas. Although conflicting views on this piece abound, all art historians agree on this point: It represents GNAY’s transition, from a drinker that paints, to a painter that drinks. The empty whiskey bottle coupled with the solitary Converse (convert?) sneaker and all the loneliness, isolation, and alienation evoked is almost too much for the viewer to bear. Fortunately, a glimmer of hope (for our hero) appears in the form of the tape or Band-Aids that have been subtlety applied here and there on the canvas. Signs of healing and redemption? Let’s hope.


November 16, 2016

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