BIOGRAPHY: MADELINE DUXBURY
ABOUT THE PAINTING: I tried to give utmost respect to the caricatures who refused to be painted as portraits. It was like trying to take a p hotograph in front of the altar of God. Are the images that emerge real? Soon, the blind Zionist becomes my husband; the man picked up outside the theatre is my uncle. The Hasidic gentleman who insists on metally documenting the scene becomes the artist friend, now deceased. The very old man, left of center, and his neighbour's slower paced sou will stick together as they have been told to and at teh front of the group the angry follow-the-leader type takes on my grandfather's persona. Perhaps the only face that is truly resigned is that of the severely handicapped man who in turn becomes my brother. In contrast to these solemn personalities, the pale dancing figures behind are skittish with joy. The gates of the institution have opened and they are going on a long train ride.
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