dogs are always satellites of men.
titanilla eisenhart«s dogs are reflecting human feelings. they are mirrors of our soul. the primary colours of her paintings are black and white. the left over spectrum is reserved for your own imagination.
Anti-Evolutionary Cosmetics
One sees that the artist draws herself with fine strokes
into something that leaves the appearance of the beings frayed –
the hair. ItÕs not for the first time that the strokes appear
orderly, scribbled similar to a hairstyle, but with Titanilla Eisenhart
the condition of the hair is drawn into a triangle between man –
dog – woman with philosophical rigor. Evolutionary, little hair was
left on man from the voluptious fur which now remains preferably on
the protruding parts such as the genitals and the head. As a mirror
to the genitals, the misinterpretation of the splendour of the hair
becomes a right of self-evalution and makes the hairstyle. While men with
their all colourful, erected or backcombed hair persuade the onlooker with
their moviestarlike and melancholic faces which goes back to the bestial
history of evolution in a most unexplicable way, the dog does it the
other way around. Dogs try for as long as they can (in order that they be
called true dog of their master) to look intelligent despite their
hairyness. Only little parts of their all over furyness are brought into
use of forms. The dogs triumph is revealed through the combing and
trimming of hairstyles that are at least the size of their heads.
Since the Renaissance human and animal physiognomy was a much
loved form of entertainment with anthropological undertones. It
showed kinship and estrangement between the species as it investigated
this curious bondage which was diluted through an objection by means of
scissors, colours, comb and brush, glue, clip and chemical ondulation
fixatives.
Further, and this is important for the artist, it is obvious
that our reading mechanism of such physiognomy still adopts
automatic evalutation as they might have been indispensible for the
cavemanÕs survival. Voluptious hair lets us hallucinate dignity, the
headdress of a popeÕs tiaras steepness, the harmony between eyebrows and
the hair, the behaviour of the sea on its wavebuilding shore. We
see faces in various states and also in hairstyles, which explains
the boom of this branch. We stand behind some beautifully haired
person and imagine their qualities. As soon as they turn around we feel
the loss of such ideologies, which tried it with a hair-argument: the
contempt of the wig-powderer, plait-cutters, long haired demagogues. We
begin to understand why a whole industry is busy producing a mean to
counter hair loss. We donÕt want baldness unless the loss of evolutionary
animalism is balanced by mental adornment. Maybe in other galaxies
brainwaves are being brought in ornate order by trained personel and put
like diadems on their ćhostsŅ. Maybe the idea of hairstyling secretly
follows such exotic illusions.