Misericordia

Misericordia
2001, acrylic on canvas
66 x 48 in.


Misericordia


At the top of Misericordia are two white doves that hover in the sky, each holding an end of a golden ribbon in its beak. Written on the ribbon in pure white is the Latin word, Misericordia, meaning mercy. The doves and ribbon not only announce the title and theme of the painting, they also carry the message of mercy for the scene below them.

Dominating the scene is a giant golden hand that gently cradles a figure in its palm. His arms and shoulders are tied to the fingers of the hand, giving him further support. The bluish-gray color and shrouded head of the figure suggest he is dead.

The hand, which can be seen as the Hand of God, lifts the figure up toward the light of a large circular greenish-blue form. The circular form stands in front of a darker space and functions as the background for the scene and represents the transcendence of heaven.

On the chest of the figure is an aureole of light that serves as the light source for the painting. It radiates out from a pinkish-purple colored stylized heart that is encircled by a crown of thorns. Together they symbolize the figure's liberation from the pain and suffering of mortal life.

Another key component of Misericordia are the hands that reach toward the figure from the sides and bottom of the painting. Their gestures and pink coloration suggest they are alive and in distinct contrast to the bluish-gray hands of the central figure. The primary role of the living hands is to express a sense of longing and compassion for the figure.

Finally, rising from the bottom of Misericordia are the leaf-covered vines. They begin as thick branches that wind around the arms and hands of the living, gradually tapering until they reach the figure's arms where they take on a joyfully spiraling decorative quality. They symbolize how the arms and hands of the living are inextricably bound to nature and the Earth. And in contrast how the figure is in the process of breaking that bond and how the Hand of God rises freely to the heavens without any constraints by the vines.

In the end I think Misericordia possesses a joyful optimism. After all, the entire scene takes place in a radiant light-filled space; the hands of the living express love and comfort; flowers adorn the figure's head; there is little indication of mourning or grief; and the figure's body is unmarred, unmolested, and idealized as if God has healed and perfected him.

- Brian Mains, September 2020