OF EROS AND DEMONS

THE ULTIMATE SUPPER

 

“What hangs on your wall says so much more

 about you than you know.”

 

To own “The Ultimate Supper” requires massive wall space of any penthouse living room whether in New York, a chateau in Paris or a castle in Windsor.  Such refined sophistication with purchasing power and a risqué mindset describes a potential custodian.

The Ultimate Supper, divulges the passion of its creator.  Depicting Eros, the Greek mythology God of love and sex, the painting conjures the spirituality that makes up her soul.  Upon the first glimpse of this painting, it exposes the fine art collector’s secret sexual desire projecting from within, meant hidden to others, but visible through the wonton  longing and promiscuous gaze.  

Knowledge of Greek Mythology nor Roman theology are required to absorb such storytelling on a canvas.  But it does take a special old soul to produce such depiction of human salacious behavior and connects to the soul of the admirer and collector, as we are all species made up of the many flavors from sweet, spicy, sour to regurgitating acidity.  

It's creator, a mixture of Armenian-Danish Persian background thrusting her ancient artistic mastery into the millennial world of 2023; is a rare commodity where the world’s bombardment of Artificial Intelligence, convincing Generation X, that less effort by humans produces excellent results.  Artistic excellence only derives from no other than invasion and exploration of her own soul matched with a disciplined mindset.   

Unless Elizabeth Romhild is capturing an audience on a social level or equally an extension of her corporate husbands’ business involvement, her seductress side is well hidden portrayed only on canvas. As a storyteller this is what Eros and Demons are about.  It is the story of fourteen character’s indulgence in good and evil, portraying lust and gluttony. 

Imagine yourself as a voyeur; midday sunbeam picking out dust settling on other canvases around the studio waiting to dry, the unmistakable smell of linseed oil mixed with turpentine solvent permeates the room. A sip of Chardonnay gives an ability to hover above her and follow the brush as the frontal cortex adjusts the electrical impulses that explode in tune with Mozart’s Requiem, injecting the room with someone else’s creation, guiding the soul to heaven. It is this heritage composition bestowed to the world, many centuries earlier, that seduces Elizabeth’s creativity like no one else can.  

The story unfolds.

 

The sketching’s are transferred onto a half moon-shape canvas, the width of  160 x 300cm  dominates the eye-line and each character brings their own story of playful  salacious lust.

There’s Satyr, in Greek mythology, a male creature with ears and tails resembling a horse with a permanent exaggerated erection.   He centers the canvas seduced with two cherries.  Above is the Khon holding his hands with ‘Fatima Eye’ keeping evil spirits away. The interpretation of the Hansa, a palm-shaped amulet popular throughout the Middle East, depicting an eye of conscience.  Many faces of Mary Magdalena epitomized from prostitute to sibyl, from mystic to nun; and even viewed as a feminist icon. 

It leaves the thought that the life journey of this painting, hung on different walls, of various owners, centuries from now, will undoubtedly still carry Elizabeth’s spirit.  Emotions  trapped through droplets of controversial energy coating the first layer, gastronomic indulgence splatters several layers  and sexual urgings deposited, cover the entire canvas; making Eros and Demons, Elizabeth’s creation engaging and alive wherever it dwells.