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In the following pages the reader will be drawn into these sensitively seen drawings by fascination and a profound recognition of how and who we are, more especially in relationship to another. Here, the 'other' is an object -or is it? What happens to the inanimate when embued with the subjective? In looking at these drawings we are given a mirror.

Beerbaum's past work has observed disassociated identity disorder, personalities represented by many human states and emotions. The work showed alter egos, rapidly changing expressions; Metamorphosis. This new work touches on this, yet with its subjects being an ordinary man and an ordinary woman, it is perhaps more compelling by its closeness to how it is for us. We see Ursula and Oliver posed with either a mask or a knife – two powerfully symbolic objects. Protection? Murder? In the drama of these potent cameos we see the transformation of the objects into a living item where are we no longer able to distinguish where the power lines nor where the boundaries stop. In this ‘Metamorphoses’ the Latin poet Ovid describes the transformation of people into animals, trees or rocks. This theme is interwoven here, not literally but by implication, taking the viewer o its mythical, psychological journey.

Beerbaum’s friend Nicolas Moore said of his work: “Things too disturbing to be more than hinted at – suppressed violence, quite often a pool or a splash of blood. The spectator is left to make of it what he will (its non-committal in that respect), yet clues abound – a minotaur a severed calf’s head, Samson and the pillars, mayhem in a classical landscape.
The edifice is always crumbling, an animal or a person is threatened with or facing actual destruction. But the act is not complete – not yet – not until you, the spectator, reassemble these disjecta membra. No ram has ever been so bloodily caught in its thicket than this one. “Life is an execution chamber, indifferently gilded and externally supplied with fresh victims”. The potential for death is always there, as too is the inevitable concomitant protest…..Ah, the seductions of violence!”

One can not relate to these mages without empathy. One cannot look at these drawings and not see the sensitivity of the use of the pencil. In these images a process is occurring in which creation, empathy and commentary form a constellation which itself is constantly changing and something from the psychology of the ancients (mythology, polytheism, pantheism) is manifesting itself in modern times.

Annie James 2006