UCLA Journal of Radiation Oncology_SS 2025_FOR PRINT - Flipbook - Page 23
Francesco Clemente, White Flags I, 2015, Mixed media on canvas, © Francesco Clemente; Courtesy the artist and Vito Schnabel Gallery
UCLA RADIATION ONCOLOGY JOURNAL
stunning article presented Clemente not only as a powerhouse artist,
the places in which the sacred and profane intersect in our lives. Is
but as an aesthete. In this article and subsequent ones, it is clear that
this piece raising a white 昀氀ag in support of love (represented by the
his home is 昀椀lled with work from not only Warhol and Basquiat,
heart at the bottom) despite the thorns or wires? What interpretation
but furniture I consider works of art from greats such as Frank
do you, as a viewer, feel? These are the necessary questions raised by
Lloyd Wright and Isamu Noguchi. His eye for beauty if arguably
Clemente’s work.
unparalleled, and this self-portrait remains one of my favorite works
In “The Kiss,” a bird and a 昀椀sh connect two young lovers in a kiss,
of Clemente’s for the deep linework, the expressive eyes and facial
a connection. The work provokes thoughts of how we, as a society,
expression, and for the seemingly carved or sculptural aspect his
use our communities to connect us to future friends, loves. Despite
work often holds. For me, this piece is quintessential Clemente. It is
this work being on paper rather than an oil or watercolor painting, it
forthright and open to the world, direct and inquisitive.
holds a signi昀椀cant amount of light. The linework draws the viewer
“White Flags 1,” from a 2015 series, takes on a seemingly di昀昀erent
central without allowing one to dismiss the whole. So activated is
approach to his typical 昀椀gurative work, and yet the 昀氀ag is activated,
the entire composition that one must continue to move around the
as meaningful in expression and comportment as a human form. And
drawing visually as they experience the joy of connection for the
so the 昀氀ags in this series should. The 昀氀ags represent our spirituality,
central couple.
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