Great Krishna

Rose creates surreal interpretations of world culture, preferring to explore a pole to pole psychology through his distance and ‘outsider’ status in relation to historical Eastern and African culture, and that of the south pacific islands. Through observation an interpretive (often subjective and decontextualised) drawing emerges and, as with ‘Great Krishna’, cultural motif begins to merge into a central zone. The main panels (narratively Pacific and far-Eastern, respective to the double-sided format) juggle with a Chinese-like decorative element, with its interplay of dragons and a vivid red. The sculptor commonly plays with dimensions to vacillate between a 2d and 3d perspective, and here the overall flattening of the object suggests canvas or vessel equally.