“Dorrit Yacoby: To Live with Knives in the Gut at the Gates of Mercy”
A catalogue essay for Dorrit Yacoby solo show at the Gallery of the Canadian Embassy, Tokyo, and at the Osaka Contemporary Art Center, Osaka, Japan
Dorrit Yacoby’s works belong to a species of existential painting that has almost vanished from the world – painting that is a metaphor for a frail existence, an externalized and tumultuous expression of the classical existential dialectics: salvation through the gutters. In Jungian terms, we can say that she belongs to an endangered species of artists who are consumed by their vocation.
“Dorrit Yacoby: To Live with Knives in the Gut at the Gates of Mercy”
A catalogue essay for Dorrit Yacoby solo show at the Gallery of the Canadian Embassy, Tokyo, and at the Osaka Contemporary Art Center, Osaka, Japan
Dorrit Yacoby’s works belong to a species of existential painting that has almost vanished from the world – painting that is a metaphor for a frail existence, an externalized and tumultuous expression of the classical existential dialectics: salvation through the gutters. In Jungian terms, we can say that she belongs to an endangered species of artists who are consumed by their vocation.
