'Mummy Bear and Baby Bear', Brown Bears, 2013 Black Biro Drawing

'Mummy Bear and Baby Bear', Brown Bears, 2013 Black Biro Drawing

Original black Biro drawing ‘Mummy Bear and Baby Bear'. This is the first drawing of her ‘Brown Bears’ diptych and one of eight designs from her iconic print and china series ‘In Homage to the Last Great Carnivores of Eurasia'. It highlights threatened and endangered carnivores across the Eurasian continent. A Russian Brown bear treads across the white page with a rich tapestry of symbolism woven through his fur, including an interpretation of artist Anselm Kiefer’s attic. An old soviet war poster was used as inspiration to illustrate the harsh Russian winters faced by female bears and their cubs, a time when hibernating Brown bears are most at risk from mankind. Jane's meticulous drawings take several months to research and make.

Limited edition 50 x 50cm archival pigment prints available from SHOP





FURTHER INFORMATION ABOUT SYMBOLISM
‘Mummy Bear and Baby Bear’ highlights the practice of den hunting in Russia. Hibernating adult bears are woken by hunters dogs entering their dens and then shot as they emerge chasing the dogs. This results in the orphaning of cubs if the female bear has produced a litter. Using Anselm Kiefer’s painting, ‘Parsifal III’, 1973 as the underlying layer of the drawing, Jane depicts not only the physical painted elements of Kiefer’s dark den like attic but also Kiefer’s symbolism, his bold challenges of recent history and the fact that Kiefer’s attic represents the origin of time. This signifies for Jane age-old relationships between man and animals, both good and evil. Kiefer’s portrayal of the ‘Parsifal Saga’ and Wagner’s ‘Parsifal’ Opera include the symbolic ‘holy spear’ which in this drawing penetrates the cub’s neck creating Jung’s ‘Amfortas Wound’; the wound that never heals. Jane’s representation of the ‘Amfortas Wound’ not only suggests that man historically as a species continues along a destructive path despite our insight into the consequences of such destroying our own species and others. It also implies the pain of ‘loss’ that never completely heals. In the centre of the piece is a mother bear holding her cub close, inspired by Viktor Koretsky’s 1942 WWII propaganda poster "Red Army Soldiers, Save Us!". The drawing parallels not only the interpretation of the fairy tale ‘Goldilocks and the Three Bears’ which moralises key needs for both humans and bears such as food, safety and shelter but also asks “where’s Daddy bear?”, is he also a victim of den hunting? The gun thrust into the faces of Mummy bear and Baby Bear is a WWII Russian PPSH41 Sub Machine gun replacing the German bayonet in Koretsky’s original.
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'Mummy Bear and Baby Bear', Brown Bears, 2013 Black Biro Drawing

'Mummy Bear and Baby Bear', Brown Bears, 2013 Black Biro Drawing

Original black Biro drawing ‘Mummy Bear and Baby Bear'. This is the first drawing of her ‘Brown Bears’ diptych and one of eight designs from her iconic print and china series ‘In Homage to the Last Great Carnivores of Eurasia'. It highlights threatened and endangered carnivores across the Eurasian continent. A Russian Brown bear treads across the white page with a rich tapestry of symbolism woven through his fur, including an interpretation of artist Anselm Kiefer’s attic. An old soviet war poster was used as inspiration to illustrate the harsh Russian winters faced by female bears and their cubs, a time when hibernating Brown bears are most at risk from mankind. Jane's meticulous drawings take several months to research and make.

Limited edition 50 x 50cm archival pigment prints available from SHOP





FURTHER INFORMATION ABOUT SYMBOLISM
‘Mummy Bear and Baby Bear’ highlights the practice of den hunting in Russia. Hibernating adult bears are woken by hunters dogs entering their dens and then shot as they emerge chasing the dogs. This results in the orphaning of cubs if the female bear has produced a litter. Using Anselm Kiefer’s painting, ‘Parsifal III’, 1973 as the underlying layer of the drawing, Jane depicts not only the physical painted elements of Kiefer’s dark den like attic but also Kiefer’s symbolism, his bold challenges of recent history and the fact that Kiefer’s attic represents the origin of time. This signifies for Jane age-old relationships between man and animals, both good and evil. Kiefer’s portrayal of the ‘Parsifal Saga’ and Wagner’s ‘Parsifal’ Opera include the symbolic ‘holy spear’ which in this drawing penetrates the cub’s neck creating Jung’s ‘Amfortas Wound’; the wound that never heals. Jane’s representation of the ‘Amfortas Wound’ not only suggests that man historically as a species continues along a destructive path despite our insight into the consequences of such destroying our own species and others. It also implies the pain of ‘loss’ that never completely heals. In the centre of the piece is a mother bear holding her cub close, inspired by Viktor Koretsky’s 1942 WWII propaganda poster "Red Army Soldiers, Save Us!". The drawing parallels not only the interpretation of the fairy tale ‘Goldilocks and the Three Bears’ which moralises key needs for both humans and bears such as food, safety and shelter but also asks “where’s Daddy bear?”, is he also a victim of den hunting? The gun thrust into the faces of Mummy bear and Baby Bear is a WWII Russian PPSH41 Sub Machine gun replacing the German bayonet in Koretsky’s original.
Ref:
Date:
Location:
Photographer: