The prevailing Renaissance ideal, captured in the drawing of the „Vitruvian Man” by Leonardo da Vinci becomes the background for the
figure of Maria Magdalena blurring the hermetically closed boundaries of the golden section the glororious, quintessentially masculine concept of human power.
The great ABSENTEE
MAGDALENA golden section light painting II (2019)
The Leonardo da Vinci LAST SUPPER painting is revisited by the figure of Mary Magdalene, embodied by the artist in movement.
Despite the central role Mary Magdalene had played in the life of Jesus and the formation of early Christianity, she is not given a seat at the table of „The Last Supper” by Leonardo da Vinci. Her appearance in front of the scenery could be interpreted as reflecting our growing consciousness of how the most important female figure of Christianity has been deformed and concealed by the church itself. Maria Magdalena becomes the metaphor for the exclusion of the feminine in many of our cultural traditions, a form of exile that is painfully experienced by women up to this day.