"In many works, sturdy, almost sculptural nude women appear alongside children and dogs, suggesting an untamed intimacy. The rust-colored painting is Barry's interpretation of the famed Capitoline Wolf, a centuries-old sculpture depicting Romulus and Remus, the mythical twin founders of Rome who were suckled by a she-wolf after being abandoned."
"Barry wouldn't call herself an A.I. doomsayer, and says she uses ChatGPT in her own day-to-day life. But she sees this rising wariness of images as a cousin of age-old iconoclasm. In a visual culture rooted in fear, she wanted to offer another way of seeing, one centered in trust and belief."
"While researching iconoclasm, Barry discovered its counterpoint-iconophilia, or the love of images. Centuries ago, icons and relics were often caressed, kissed, and even worn by the religious faithful, serving as physical conduits to divine experience."
Colleen Barry's exhibition 'Iconophilia' features 14 recent paintings that delve into themes of motherhood, tenderness, and contemporary image-making. The works depict sculptural nude women with children and dogs, conveying a sense of intimacy. One notable piece, 'Orange She-Wolf with Infants,' reinterprets the Capitoline Wolf sculpture. Barry reflects on her children's growing distrust of images, linking it to historical iconoclasm. She aims to present a perspective rooted in trust and belief, contrasting the fear prevalent in today's visual culture.
Read at Artnet News
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