rom his subconscious to pour, undiluted and unrefined onto the surface before him. Viewers become
he artists, musicians and places that are working away in his psychology, often punctuated by the titles of
 the names of popular dances. For example, in Degas, 2010 (p. 26), among the multiple repetitions of the
tist’s name viewers encounter references to ‘[Jimi] Hendrix’, ‘Love’ (the band) and ‘Help’ (the Beatles
well as the drugs, ‘morphine’ and 'heroin', leading presumably back to Degas’ signature subject with the
llerina epiphany’. Yet, while everything is laid out across the pictorial field of every work, Sarkin provides
truction nor explanation. To ‘get’ a Jon Sarkin artwork, the viewer has to feel it.
des
2022

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