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ID
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Category
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Type
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Media Used
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Decoupage/Mixed Media: Cut Papers + Photographs, Acrylic Paints and Gloss Glaze on Canvas Board
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Size (unframed)
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Copyright
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Copyright ©2007 Carol Worthey
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Framing
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Mat Black 4" diameter frame, 28" x 38" framed
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No More Genocides combines iconic symbols of Armenian
culture with images of devastation and loss to underscore
the suffering and yet the resilience of the Armenian
people... and the human spirit. It was especially created
for an outstanding group show memorializing the Armenian
Genocide of 1915, the first genocide of the Twentieth
Century, at Royal Gallery in Glendale. (See Events, April,
2007) Despite the horrific slaughter of over a million and
a half Armenian men, women and children, their culture has
survived and has produced great artists, musicians, scholars
and community leaders.
In the center is a golden
scene representing hope for the future and the values from
the past that have kept the culture alive despite all: The
eternal vision of family, faith, love of life, learning,
books, music and art. The pomegranate is the Armenian
symbol for life. Pomegranates are featured throughout,
usually red and ripe. In contrast here in the center are
special golden, not-yet-ripened pomegranates with their
branches still bearing flowers: symbols of new hope and
youth. The fruit sits upon three gilded books with a cross
shining above the pomegranates. Mysterious figures (are
they butterflies or angels?) float on either side. (Careful
observers will note a small golden Jewish Star on the left
side of the vision, in honor of Jewish victims during and
after this atrocity.) Above this glowing vision is an open
ripe-red pomegranate shaped like a heart, with the
individual seeds bursting forth with sweet flavor... or is
it blood? Behind the vision and the pomegranate-heart is
the shadowy, evocative face of a young Armenian beauty--the
only face with observable features in the artwork. Why no
faces? War and mass killings wipe the individuality from
both the victims and the oppressors. Those who kill refuse
to see the individuality of those they murder, and sadly,
survivors become dehumanized in their shock and sorrow.
Hence all the figures surrounding the central vision (except
this one beautiful face representing family, beauty and
times of the past) have no features. Below the vision is
the body of a murdered woman, with ruby strands cut to
resemble the flow of blood. (Her upturned chin was cut from
the image of a perfume bottle.) At the top, a shocked
survivor looks over a burned out field--are the pomegranate
seeds that hide her face meant to represent her memories of
life-filled times or to symbolize blood? (The artist askes
the viewer to decide.) To the right is a mysterious womanly
figure leaning on huge boulders, weeping. (Is this an angel
crying over the cruelty of mankind, or a survivor... or
perhaps even a ghost? Again, the viewer decides.) The
suggestion of shadowy wings on this figure have been cut in
nearly the same shape as the cloud of smoke in the
devastated field above. To the upper left are empty boots
and children’s shoes: Since the artist has concentrated
on women in this artwork, these represent the men and
children who were also killed--empty shoes of a family that
once was.
Carol Worthey knows that even to
this day genocides are still occurring, as in Darfur. It is
her prayer that all mankind can grow in mutual understanding
of their commonalities and respect for their differences so
that someday, hopefully soon, there will be No More
Genocides.
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