Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116The ArTs 38 p o r T l A n d monthly magazine CloCkwise from top left: “JaCob wrestling the angel”, print on show at Center for maine Contemporary art; “pines” - greenhut galleries; “Distant past” - D.C. moore gallery; roDney D. moore and it represents the broader picture of American culture in general–how do we navigate something made of so many dif- ferent parts and currents? We’re informed by so many different things and places rolled together. It’s what makes us Amer- icans. It’s like we have lived many differ- ent lives. This sense of perspective helps us grow–positive change–but it creates con- flict as well. YourprintofJacobWrestlingtheAngel(intheCMCA show)isaclearimageofconflict,butitdirectlyreferences Delacroix’sversionofthesubjectintheSaint-Sulpicein Paris.Whatisthebalance,atleastinthiscase,ofyourcon- tentbetweentheme,subject,andarthistory? T his is based on my own fun- damentalist upbringing–my father was a Baptist minis- ter–which is why I have al- ways been drawn to Jonah and The Whale, Gabriel, and so on. The Delac- roix is really a landscape, an old forest–the struggle is earthly. It’s a story from Genesis, which is important across many cultures. I don’t make work to try to define my iden- tity. Instead, I use imagery to which I have cultural connections. Delacroix’slandscapedominatesthatpainting:Whydidn’t youincludeit? That’s how I saw it, too. When I was in Par- is with my wife, I made a little sketch of the figures struggling in the corner of the for- est scene, but I was more interested in the landscape and the trees. I didn’t include that, but it’s what drew me to the mural.