The 1990's Gallery
The 1990's Wing of the Gallery at www.GerardPas.com represents a period of profound introspection leading to a time of recluse for Gerard. The decade begins with Gerard attempting to apply the idealistic theories of Neo-Plasticism, Suprematism and Constructivism to the human form. It ends with him despairing the human condition and bitter disillusionment in his search of the 'pure form'. The earlier investigations which led him to present problematical situations corresponding directly to one's cognition of reality, and reality's often relative perception, continue to motivate his work. The result: Thesis versus Antithesis brings forth Synthesis. In the ethereal, Gerard contemplates "Was Hegel right in his dialectical criticism of truth?" His realization of the temporal reality of Beauty and the subsequent cracks, which appear in any ideology, confuse and bring on a period of deep depression. His work at the start of the decade, begin with an attempt to redeem the human form and lose his own shame with his own broken body: a celebration of the ideals which have motivated so many figure painters. During this period Gerard also becomes disenchanted with organized religion. After spending some 6 years teaching at a parochial University he comes to see that organized religion has somehow lost site of the goal of human spirituality and instead elected to champion prevailing and often relative forms of cultural morality. This only fuels his desire to recluse himself and further fuels his already spiralling depression. The result: the decade ends with a return to dark images of the broken body and despair in our common destiny as mortals. Like Apollo, Gerard chases' after Daphne (beauty), only to end up feeling like Sisyphus. Sisyphus' eternal plight, being that of rolling the rock to the top of the mountain only to watch it roll down the other side and thus be forced to roll it up again in perpetuity. Nevertheless, true spirituality if real cannot be hidden and continues to take its effect. At the close of the nineties, after returning to New York City, Gerard's work starts to develop a more cathartic and deeper understanding of the human condition. These dark times and subsequent works illuminate a paradigm shift in Gerard's development and announce a profound and provocative understanding of the human dilemma, as seen in his works which culminate at the end of the century with the series entitled "The Saints". These then become the inspirations and muse behind the works in this decade of the gallery.
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