Detail / Floral Object Assembly

Detail of 'Communion': Floral composition / found object assembly. This Harkrader composition consist of an open-faced cordless handset (communication) that is embellished with crystals, glass and metal, all residing on the face of the motherboard of the cordless instrument. Symbolic of communication, hence; communion, which may be interpreted as a means of contact with the supernatural, a higher being, a celebration of the body of Christ, humanity, and ourselves as we 'talk to ourselves' when no one else will listen. This composition is symbolic, elegant, feminine, urban and delicate.

Sculpture of Crucifixion

Harkrader's sculpture, 'Crucifixion', is mounted to copper tubing wrapped with copper wire which then terminates on one end of each palm of the Christ. The copper tubes are mounted onto the face of a stainless steel automotive transmission 'brain plate'. The Christ has been tinted with a bronzing effect and adorned with a loin cloth of cotton secured with fiber and wire that is embellished with beading. Cadmium red was applied to the palms for blood

Crucifixion: The New Version

The comtemporary version of the Crucifixion was painted by Harkrader in the early 1990's. An oil on canvas, 48"x48", a contemporary crucifixion with added biblical language that includes the Trinity. The angelic figure with the floating-fractured arm was modeled after a regional cemetery statue that sit on a family tombstone and also sports a broken right arm (minus the floating section). The wing of the Dove (Holy Spirit) curls around the head of Christ to form a halo and the chest of the Dove terminates into the eye of God (Father). A hole in the palm of Christ is testimony to the nail (now missing), all suspended above the red square (blood of Christ). The arm of the cross was foreshortened to allow the composition language. Color capsules float around the canvas, casting shadows & glowing, creating light and depth. The circular 3D hole in the cross forms a triangle that completes the whole composition. Available!

Missing Vessel III

Vessel III is not missing, but the artist is missing having this painting hang on his living room wall. Painted in 2007 while still working at the Studios On The Square (Campell) location in Roanoke City, Harkrader completed three of the five vessel paintings, but none as controversial as Vessel III. Harkrader and his wife traveled to Western and Eastern Europe during this year. Harkrader and Ellen housed with artists in Rome & Paris, in addition to a journey that led them to Budapest and Prague. These trips was absolutely filled with intrigue, adventure and mishap which will be covered in a later post.

In this same year, Harkrader read Dan Brown's fiction, the Da Vinci Code which was full of symbolism, code, numbers, secrets, interpretation and meaning. The book made a large impression on Harkrader on many levels. Painted after reading the Da Vinci Code, the book controversial for many reasons including the possibility of Christ having fathered a child by Mary Magdalene, the role of the church in art, Symbolism, code, numbers, intrigue and secrets fill the book especially and Harkrader has filled his painting with some enigma.

The vessel shapes in this Harkrader canvas are all (3) masculine. Shapes (blade/pryamid)=masculine as revealed in Christian literature, Da Vinci's Last Supper and Brown's version of fiction. Some of the raised text in the painting include Heiros Gamos & SubRosa. Harkrader dissected a sweeping vertical opening in the left center section of the canvas and laced the opening up with copper wire that became embedded as the painting progressed. This opening is symbolic of the of the wound & scar in Christ's side. The center 'masculine shaped' vessel is covered in the blood, which is symbolic of communion (derived from Latin for 'sharing in common), where wine is substituted for the blood of Christ and and the faithful partake in 'open communion' as practiced by many Christians.

Other very personal enigma that Harkrader embedded are contained in two of the three small verticle circles that reside along the lower right side of the canvas along the left side of the blue line. The content of these three circles were rarely noticed by the majority of spectators who viewed this canvas while on display in Virginia, Washington DC, and Philadelphia.