by Mark Rucker
Part 1
Introduction
In the 1980s, Mark Rucker set out to create a modern version of a medieval triptych, a three part painting. He completed two canvases of the three, but barely got started on the central panel. It was not until 2021 that he was able to coalesce the ideas and forces that would manifest the piece.
In 2023 it was finished.
If you’ve ever heard of Mark Rucker, the likely connection would be to pictures.
Mark has made pictures,
fixed pictures,
photocopied pictures,
bought pictures,
sold pictures,
packaged pictures,
shipped pictures,
digitized pictures,
corrected pictures,
and taken pictures of pictures.
You can find some of Mark’s collection at The Rucker Archive.
Mark has made pictures,
fixed pictures,
photocopied pictures,
bought pictures,
sold pictures,
packaged pictures,
shipped pictures,
digitized pictures,
corrected pictures,
and taken pictures of pictures.
You can find some of Mark’s collection at The Rucker Archive.
The core inspiration for Healios the Alterpiece was Matthias Grünewald’s intention for his famous altarpiece to be a healing device. His late medieval understanding was about the curative power of light out of darkness.
A part of the healing process involves transformation. This transformation or change comes from the movement within the structure. Closed transforming into Open. Darkness transforming into Light.
Healios the Alterpiece now has a life of her own. I believe I can talk about it as if I had nothing to do with it.
Part 2
Triptych History
The triptych involves three paintings placed in a folding frame, which presents different aspects when opened or closed.
Triptych art became popular in Europe in the late 14th century and blossomed in the 15th century with Matthias Grünewald’s Isenheim Altarpiece.
Art was used as an ancient form of emotional and visual control.
Christian churches have historically used art, paintings, and sculptures to maintain a record of misery and promote the history of suffering to their subjects. In many traditional Christian churches, anguish and pain are the visual messages upon entering. This is an ancient form of emotional and visual control.
One of the medieval church’s many missions was a medical one.
The Isenheim Altarpiece by Matthias Grünewald was designed to provide aid to those suffering from the bubonic plague and St. Anthony’s fire.
The triptych would be closed for most of the year and ceremonially opened at specific times for healing purposes.
Part 3
Grünewald’s work as inspiration for Healios the Alterpiece
Grünewald’s imagery dealt with the past – stories from the past, stories on which the church was built, the church’s past – and connected it with the technology of the medical order of St. Anthony.
With that in mind, both Alterpieces are about technology – the technology with which the state kills citizens, the technology that measures life and death in a hospital.
There is a rawness to the paintings of Matthias Grünewald in his crucifixions, almost primitive in their spareness
Healios the Alterpiece shines a light on modern crucifixions.
Part 4
Commentaries
Healios the Alterpiece is an energy device with attributes yet undiscovered.
01
Common themes
Street justice, murder by the state, punishment and vengeance, fear and cruelty are all at issue in both works.
Both Alterpieces are almost cartoons with exaggerated limbs and expressions that carry a story to a dangerous place where energy transfer can occur.
02
Eye movement
On the same eye level are the central disc, the televangelist, the doctor / coroner. The eyes do not stop working when watching the two paintings as they sit together.
But when Healios the Alterpiece is open, the eye goes right to the solar disc at the center, and does not leave.
03
Closed vs open
Concealed versus revealed.
When closed, the message is societal misery. When open, the message is light and release. Seeing the piece open changes the viewer’s perception or understanding of the two movable outer paintings.
04
Down to the details
The viewing room is sterile. The medical room is sterile. Emotions vary on each face all doing different jobs. The camera woman comes from Channel 666.
The execution chair has electrified cones above the hands that will burn through them much like stigmata. There is a tear on the shirt of the victim just below the rib cage on the left.
05
A strange dynamic
The relationship between the two paintings is tense and difficult, and that’s a good thing. The execution scene offers a straight-on approach and is locked into the earthly.
The right panel has a view from above. This perspective allows the body to kook down on its own situation. The clinical and spiritual intertwined.
The relationship between
The Structure
Healios the Alterpiece is made from black walnut, white ash, linen canvas, oil paint and steel.
The dimensions – inclusive of the base and the walnut oval – 80 inches high, 76 inches wide, 2 feet deep.
Healios the Alterpiece is made from black walnut, white ash, linen canvas, oil paint and steel.
The dimensions – inclusive of the base and the walnut oval – 80 inches high, 76 inches wide, 2 feet deep.
The central disc
The disc is framed by an inset circle of white ash. The disc is placed at an average eye level height of 63 inches from the floor. The disc is made of metal. The image on it is baked enamel.
The central disc
The disc is framed by an inset circle of white ash. The disc is placed at an average eye level height of 63 inches from the floor. The disc is made of metal. The image on it is baked enamel.
The stand
The structure is composed of black walnut and white ash. It was designed by Mark Rucker in consultation with Mike Newitt, who executed the design. He lives in West Kelowna, British Columbia, Canada.
Mike Newitt split the black walnut planks, so that when placed side by side a mirror image of the grain appears. He also devised the structure of the base using two different woods. He cut the perfect oval.
Though the structure is essentially a stand, I did not want it to look like post. Instead, the design seeks to make the oval appear to be floating. The curved lower pieces make that happen.