Amazing
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Amazing
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Dali Life in Transition
The man does a joyful dance as four unbearably cute cartoon animals cavort beneath him in a desertified, and deserted, landscape.
Naked, but for a g-string with a daisy up front, he grabs a hat and whip and dances in a spotlight, sporting feather-wing accoutrement on his hips. He produces a wolf in one hand and an adorable baby in the other; the baby eats the wolf and grins. The man takes a bow, hat in hand, but the spotlight suddenly goes away and he’s left holding a book instead, as a giant spidery thing comes up from behind and spears him in the head. Pages from the book go flying as we close in on the man’s pierced forehead. Inside is a DNA strand that offers up a brown glob that sports a tongue, then turns into a cartoon beast, whose body falls to pieces, mutating into a demon-like man and woman whose twisting bodies twirl around the screen, shift, collapse and finally are engorged by giant thorny branches that fill the screen. Eventually, though, the thorns produce a million daisies, one of which morphs into the head of the departed man. He blinks, then smiles and it’s over. Concept boy, fetch me an open-ended artistic statement! I’m seeing some serious commercial-artist-working-in-kids-entertainment-gets-horrible-shock, meditates-on-his-own-nature vibes here. The tone of Life in Transition suggests this was something of a purgatory work for Dilworth, but there’s no obvious programmatic content here: just a lot of really interesting drawings put together over several years because an animator with a headful of bees decided to make ’em make honey. Cable subscribers familiar with his Courage the Cowardly Dog series will no doubt recognize the series’ creator’s artistic signature everywhere, from his distinctive physical movements to the aw-shucks grin so wide it deforms his characters’ jaws. next backyard shadow |
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