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“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)
Cardinal shows an abstract image of rows of stately seats, seen from behind, with armrests and plush upholstery. He’s not there and neither are his colleagues, the cardinals, but their authoritarian, totalitarian spirit is overwhelmingly present. This tendency, that association with an institution, is not obvious when you only look at the properties of the image. Rather, there is an exciting rhythm of surfaces, lines and colors that convincingly also maintains its power when the image is rotated in other positions. (from ‘Chairs and Titles’ by Chris Manders in the book All in the Family).
The shade of both chairs, of which only the top can be seen, reveals more. However, it flows so seamlessly into that of the same chair that it is actually one shade.