Conversion
I had seen the subject of conversion in Classical paintings treated with the inclusion of a mirror, suggesting that conversion involves “self-realization,” to use a 20th century term. Although I can’t name the artist now, I had seen a “Conversion of Mary Magdalene” treated in this manner. This treatment seemed curious to me, but I did like the suggestion that self-realization is the substance of spirituality. Although I have named this simply “Conversion,” it has always been to me specifically the conversion of Mary Magdalene. Unmasking herself, she sees by her reflection that she is inwardly a dove.This was my first use of the “Mary Magdalene” character that I went on to use in several other paintings. I like Mary’s legendary designation as the redeemed whore, and have pictured this figure either wearing her mask or removing her mask, the difference between the two being contingent upon the point of conversion. Wearing it she is the unenlightened and abused whore, without it she has met her redemption, or realized her self worth.
In about 1990 I had some friends who had taken some weird Polaroids of themselves for fun, and the woman had dressed in lingerie and a Mardi Gras mask for a few. I liked the enigmatic appearance of her in this attire, and it was this that eventually served as my model for this character.
(Paintings that feature the Mary Magdalene character are "Conversion," "the Thunder," "Crucifixion," and "Christ and the Adulterous Woman.")
(Paintings that feature revealing mirrored reflections are "Conversion," "the Narcissist," "Her Ghost," "Hugging a Vampire," "Villana," and "Dogfight.")