This bend of the road... You're gonna say that I am going at it again, but it is represented in so many of O.O.'s drawings, and it has such obsessive quality that it reminds of, ahem, yes, Proust... I know, I know. But still, this concentration on a single sensation that is visited and revisited again, in order to get at the reality of which it is a hieroglyph (I am sort of quoting Proust), that's something very orokian as well. Each time the motive gets a new meaning through, through a slight change, a change slight but radical. O.O. is forever trying to recapture a time past, the time of true friendship, of naked freshness, of the ancient village in an unbroken circle. Hence the risky trip in the old country, to see again that bend of the road, and find oneself, in one's fresh nudity, at the shores of a lake with solid water and flowery fish... How could he ever be there?
Rahmane. Proust?! But I see what you mean about Proustian methods. It is interesting how (culturally) the straight=normal and the bend/bent=anti-normal. I had not seen this, but now I do: the bend in Orokie's work bends his love of men (homosexuality) back to its roots. The bending path always, for Orokie, goes back to a state of nakedness and innocence, as you say. Much of his work is nostalgic, but never sentimental.
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More!
More cartoons?
More of the bus series?
You are always a welcome reader Mr Bronzebuackaroo of the Wandering Caravan.
This bend of the road... You're gonna say that I am going at it again, but it is represented in so many of O.O.'s drawings, and it has such obsessive quality that it reminds of, ahem, yes, Proust... I know, I know. But still, this concentration on a single sensation that is visited and revisited again, in order to get at the reality of which it is a hieroglyph (I am sort of quoting Proust), that's something very orokian as well. Each time the motive gets a new meaning through, through a slight change, a change slight but radical. O.O. is forever trying to recapture a time past, the time of true friendship, of naked freshness, of the ancient village in an unbroken circle. Hence the risky trip in the old country, to see again that bend of the road, and find oneself, in one's fresh nudity, at the shores of a lake with solid water and flowery fish... How could he ever be there?
Rahmane. Proust?! But I see what you mean about Proustian methods. It is interesting how (culturally) the straight=normal and the bend/bent=anti-normal. I had not seen this, but now I do: the bend in Orokie's work bends his love of men (homosexuality) back to its roots. The bending path always, for Orokie, goes back to a state of nakedness and innocence, as you say. Much of his work is nostalgic, but never sentimental.
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