© 2010 Miriam Cabello: The Betrayal, Old Holland Oil on Belgian Linen, 55"x47"

AWARDS

  • American Institute of Architects (AIA), Design & Art Award Winner, USA

Faith & Form: Interfaith Forum on Religion, Art & Architecture (IFRAA) International Awards Program USA.

Award for Installation, South Sydney Uniting Church, Waterloo.

  • Finalist & selected to travel in the 56th Blake Prize for Religious Art 07

 ABOUT THE PIECE

In perhaps the most intimate Station of the series, Cabello creates a scene of profound submission, anguish and latent remorse. As an audience we are closer to the figures than at any other time during the Passion, bearing witness to a moment, which despite being prophesied and unavoidable loses none of its aching significance under the guidance of Cabello’s brush. 

Judas embodies the trainer in the boxing allegory, whispering furtively what is required of the boxer in the coming match. The outcome is already decided, the boxer will take a fall in the twelfth round. The narrative elements effectively convey the sense of pre-determination surrounding the impending crucifixion of Christ.

The Betrayal highlights an interplay of opposites; the figures echo the young Dutch noble wearing a white tunic in Velazquez’s, The Surrender of Breda but are lit from a source above and to the right, throwing shadows between the two figures, giving dramatic intensity and highlighting a sense of the gulf between them. This effect of chiaroscuro, informed by Caravaggio’s passion pictures, such as the Crowning with Thorns, serves another function, however. It is the link between the representational forms of the boxer and trainer and the abstract expressionist background against which they are depicted.

This luminous surface is created through the application of glazing transparent colour and employs multi-directionally dripped paint to create a sense of pure form combined with an exploration of the effects of colour on the eye.

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Miriam Cabello

About Miriam Cabello

Miriam is the first Australian artist to win The Annual International Religious Art and Architecture Design Awards for Visual Arts. During June, the 2010 National Convention of the American Institute of Architects (Miami, Florida) exhibited her award winning entry and became the springboard to represent Australia's rich cultural life.

The Winter 2009 AWARDS Issue of Faith & Form magazine published her winning entry, for the painting installation Stations of the Cross. The series is a contemporary melange of master techniques and innate expression that elevates figures traditionally seen in art as ‘other’ to that of Christ and his disciples.

“My art grows from a passion for the civil rights movement and I have found inspiring voices in the oral history of individuals such as Dave Sands, an Indigenous boxing legend. Painting a black boxer as Jesus empowers the artwork. - The paintings resonate as well as challenge and shift people's ideals.”

The boxer also informs her internationally acclaimed © White Rope 2010 series. Her painting "White Rope III" was a finalist & selected to exhibit at the National Art Museum of Sport, Indianapolis, USA.

Cabello’s series of boxers, painted in oils on linen, show luminous torsos woven into a grid of gestural drips. She uses an edited palette of primary colours to engage the viewer and let them step into the subjects’ sanctuary. By painting the colour temperature of her subjects she shares their resolve and journey. It is in this private place where the poignancy of each mans gaze is felt.

Her paintings are created using glazed transparent layers applied in an innovative, layered technique that she has developed over the years. Cabello becomes completely immersed in the piece and its evolution, as once the colour is applied it stays. Painting in this tiering technique allows for the luminosity of each layer to shine. From the woven veins of white to the heat of foreground red - inviting observation and consideration of the raw, gestural strokes that inhabit each piece.

The series explores the robust male and how society has created and disarmed him. The focus is on the individual and, like Michelangelo’s David; physicality does not make the task ahead less daunting.

Cabello’s emotive paintings explore the spectrum of her boxers’ story from the initiated to the robust. She contributes to the dialogue of the male image in art, while her subjects determine their white rope.

In 2010 Miriam completed the Golden Artist Educators Program with Patti Brady and returned from studying in New York with renowned artist Daniel E. Greene. This was an intensive 3-week workshop dedicated to painting the figure from life and learning a comprehensive flesh palette derived from the Old Masters.

To celebrate the 400th Anniversary of Caravaggio's Death (1610-2010), Miriam launched Atelier Master School. This specialised and exceptionally structured school offers Innovative workshops and private instruction dedicated to the Old Masters’ Techniques. 

“My aspirations and endeavours as a contemporary artist are to interpret history, discuss injustice & apply masterful techniques.

Inspired by Velasquez's virtuosity, I aspire to assimilate the very best of artistic tradition and to leave my own unmistakable and highly personal mark. As explained by art critique & historian Robert Hughes, "To use what was old in a new way … didn't think in terms of 'copying' antiquity…Rather one (artists) sought and understood its principles grasped its essence and brought that forward into the present". [American Visions: The Epic History of Art in America, Pg 69]

Schumann best describes my other endeavour. "To send light into the darkness of men's hearts-such is the duty of the artist". [Robert A. Schumann - German Romantic composer, 1810-1856]”

 

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