The IAPP is thrilled to have artist Lincoln Perry and his Diana’s Baths paintings as the Summit’s artist-in-residence.
The story of Diana and Actaeon, from Ovid’s Metamorphosis, serves as a resonant symbol of the importance of privacy throughout history, and a poignant allegory for data protection in our modern era.
Inspired by the beautiful Diana’s Baths waterfalls in New Hampshire and the topicality of the Diana and Actaeon myth, Perry has done dozens of studies in gouache, oil pastel and oils, both on location and in the studio. His experiments in composition, color and choreography culminate in four large oils, and these pieces inspired the palette and design themes of Summit 2017.
Representational painting inherently deals with seeing and being seen. In art, things are revealed to us, and at times we regret this confrontation; Goya deliberately made his etchings, called The Disasters of War, very painful to look at. We often study the human figure with mixed feelings; are we happy participants or guilty voyeurs? I’ve always been interested in the threshold between order and disorder, between being reassured and being implicated.
A project set in New Hampshire’s White Mountains, at a series of waterfalls called Diana’s Baths, drew on the myth of Diana and Actaeon, almost a distillation of issues of privacy. The goddess Diana and her cohort are surprised by a hapless male hunter, who is punished terribly for his inadvertent transgression. When I saw mothers protecting their children from potential harm, including even the guileless gaze of male swimmers, I saw a Greek myth magically merge with our current world.
I’ve been working this way, trying to find topical subjects that resonate with timeless human experience, for four decades now. I usually set figures invented or observed into locations almost like stage sets, making for a visual story somewhat the way theater functions.