Jesus Loves Me But He Can’t Stand You

05/2011 — 22″ x 12″

Acrylic on used fence pickets.

SOLD

A fine example from my more “profane” period. It is pretty self explanatory what I was inspired by with this one: sanctimonious people who think they epitomize all that is pure and holy, but are quick to judge anyone else who may have different ideas about what it means to be “like Christ”. Or more broadly, the way we all create god in our own image, believing we know what some mythical being wants better than anyone else. We have it right, so everyone else must have it wrong…the epitome of identifying with a particular religion.

The individual elements that come together represent some recurring imagery in my pieces at the time. The incorporation of words as a visual element that bring art, design, and illustration together you see the splattering texture to add complexity and chaos to what might be otherwise flat.

It also shows rays of light that I’ve often used as a conceptual and visual design element, but most prominent are the angel and devil pairing that were the hallmark of my early professional work. They represent two opposing points of view that are often very similar or at least difficult to understand as absolutely “good” or “evil”…two concepts I don’t recognize are real. After all, “It’s only evil when they do it to you.”

Posted by WOODCOCK

After a long exile in South Texas climbing out of a nihilistic funk, Otis Woodcock has found his way back to the open skies and quiet horizons of the American prairie. Having earned an MFA from Miami University, Ohio, he left his ancestral home in southern Indiana, spending the last three decades between Louisville, Kentucky, and San Antonio, Texas, developing his Iconoclasmatic Pop Art™ practice. On this journey, an anxious recovering Catholic and cancer survivor gradually evolved into the optimistic existentialist whose work is less interested in providing answers than in questioning certainty. Today, Woodcock lives and works where the seasonal rhythms and expansive landscapes of the Midwest serve as the backdrop for an ongoing exploration of belief systems, cultural inheritance, and the subtle poetry of ordinary things.

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