Bak’s paintings often comingle images of our difficult human condition with classic religious iconography creating a distinct tension around issues of causality and redemption. The resulting conflict of interpretation often leads the observer to question, “Who is the true creator?”.
Placed in a lush sylvan setting on Green Mountain, this Bak still life composed of a Rube Goldberg-like reconstructed teapot, a damaged pear and a half pear, a teaspoon and teacup, and cloth all resting within a rectangular structure. The teapot is nonfunctional with only its outline to define what it once was. However, the attempted repair is clearly the work of someone wanting to recreate life even in the face of impossible circumstances. Symbols of domestic joy, teacup and spoon, are present perhaps to tenuously represent what has been possible.
The “pears of life” are cracked, damaged or even cut in half. Life is not pleasant up on Green Mountain. With confirmation from the artist, there is a Green Mountain near Vilna.
Covering the half pear and dripping onto the structure below is a thick green fluid. The viscosity resembles that of oil, perhaps a reference to anointing oil intended to represent God’s blessing poured upon his people or divine protection. Ironically, there is no evidence of safety in this painting. The white cloth flowing over the backside of the rectangular structure partially wraps the damaged pear and drops into the teacup. The shroud which wraps the dead might be appropriate here. Paradoxically to shroud someone or something can mean to protect or screen from harm, but not here. All these objects sit in a rectangular coffin-like box, not the polished tabletop of the classical still life painting.
Is there divine intervention or are humans ultimately their own source for life or death?
Dr. Carl M. Herbert (Guest Writer)
BAK a Day, Ocotober 4, 2022
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