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PART I
IT FOLLOWS THE DESCRIPTION IN FOUR PARTS OF JABRO’S IMPRESSIVE MASTERWORK, TITLED,
MOLOCH-LIFE: THE SCREAMING SCREAM”, EASTER 1967.
PART I
A.) AT FIRST, THE HINT TO DANTE ALLIGHIERI (1265 -1321) AND HIS THREE-PARTED EPIC POEM OF
“THE DIVINE COMEDY” IS GIVEN IN SOME IMPORTANT RELATIONS TO JABRO’S THREE-PARTED
TRIPTYCH.
THESE, EVEN LOOSE CONNECTIONS BETWEEN THEIR MASTERWORKS TEXTUAL THEMES OF CHRISTIAN MUNDANE AND
SPIRITUAL CONTENTS, SUCH AS THE PHILOSOPHICAL MYTHS OF CIRCLE’S LIFE/DEATH AND REBIRTH
(RESURRECTION), THERE IS ALSO GIVEN A BRIEF INFORMATION THAT THE MATHEMATICAL CONSTRUCTION OF HER
TRIPTYCH IS BASED ON THE SACRED CHRISTIAN NUMBERS, SUCH AS 3 + 7 + (=) 10, AS WELL ON THE SACRED
NUMBER-COMBINATION OF 7 & 77, BUT DESCRIBED IN MORE DETAILS UNDER PART II.
B.) FURTHER, JABRO’S INVENTION OF “THE CROSSED MOUTHS AS CONTRAST-PAIRS IN WALKING
ACTIONS” IS BASED (AMONG OTHERS) ON THE PRINCIPLES OF “CAUSE AND EFFECT” AND ITS
LOGICAL CHAIN-REACTIONS.
PART II
A.) IN VIEW OF JABRO’S SUBJECTIVE-SUBLIMATED STRUCTUAL SYMBIOSIS OF THE THREE ELEMENTS OF
BODY, MIND AND SOUL, WHICH ARE FORMING THE LOGICAL CONSTRUCTION OF HER MASTERWORK’S DETAILLED
AND POINTED-OUT MATHEMATICAL EQUATIONS, IT SEEMS ONLY LOGICAL THAT SHE HAS USED FOR HER TRIPTYCH
THE CHRISTIAN SACRED NUMBERS, SUCH AS 3 + 7 + (=) 10, AS WELL THE CONSECRATED FIGURE-COMBINATION 7
& 77.
B.) DANTE’S UNDERSTANDING OF THE IMPORTANCE OF SOUL’S PURIFICATION FOR REACHING
PARADISO’S SEVEN-LEVELLED TOP - POSSIBLE MADE ONLY BY HARDSHIP’S STAGES OF
“INFERNO” AND “PURGATORIO” - WAS TAKEN OVER BY JABRO, PICTURESQUELY BROUGHT
TO ATTENTION BY FERTILICITY’S SYMBOL OF HER INVENTION “CROSSED MOUTH”.
WITHIN THIS SYMBOL OF FERTILICITY’S BROADBANDED, MOST DOMINANT THEME AFFECTING ALL LIVING
BEINGS AND THUS BROUGHT DOWN TO A COMMON DEMONINATOR, AT THE SAME TIME THE DEMONSTRATION OF
CIRCLE’S LIFE, DEATH AND REBIRTH (RESURRECTION) IS AUTOMATICLY GIVEN AND IN ITS CONSEQUENCE
THE ALSO OFFERED OPPORTUNITY OF BEING ABLE TO EXPERIENCE PARADISO’S FELICITOUSNESS BY
STICKING TO THE REFERING RULES.
PART III
A.) PART THREE CONTAINS THE DETAILED DESCRIPTION OF JABRO’S WORKBOOK-DIARY REGARDING THE
TRIPTYCH’S MANUAL DEVELOPMENT PROCESS AND ITS WORKMANSHIP.
B.) IN ADDITION, IT FOLLOWS THE DETAILED DESCRIPTION OF THE CREATIVE HANDLING OF JABRO’S
TRANSMITTED, INTELLECTUAL AND SPIRITUAL IMAGINATION INTO VISIBLE ART.
PART IV
PART IV IS SUMMARIZING THE CONTENTS OF PART I – IV AND AT THE SAME TIME DESCRIBES
JABRO’S THREE-PARTED TRIPTYCH AS ONE OF HER FEW KEY-MASTERWORKS TO BE SEEN IN RELATION TO ALL
OF HER OTHER WORKS OF ART.
IN OTHER WORDS, THE MENTIONED FOUR DESCRIPTIONS OF JABRO’S TRIPTYCH, REGARDING THE DIFFERENT
(BUT WITH EACH OTHER CORRESPONDING), MULTILAYERED THEMES OF SPIRITUAL AND MUNDANE CONTENTS ARE
INTERTWINING INTO EACH OTHER (LIKEWISE GEAR WHEELS) BY FORMING THE ESSENTIAL FOUNDATION OF HER
OTHER, LATER CREATED MASTERWORKS.
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PART I
JABRO’S masterwork, titled “MOLOCH-LIFE: THE SCREAMING SCREAM”, Easter 1967, is
created with four huge grain wood panels (two of them are dowelled together) to an extraordinary,
impressive and most unique three-parted TRIPTYCH.
Its multi-layered themes of mundane and spiritual nature are subjective-sublimated and transformed
by the artist with aid of different symbols.
Among other metaphors, they are freely based on the Italian Dante Alighieri’s three-parted,
narrative epic poem, titled “The Divine Comedy”, which describes the spiritual ways the
soul has to go for its PURIFICATION, such as from INFERNO to PURGATORY for being able, at last, to
reach the longed for goal of PARADISO’S TOP in the felicitousness of THE HOLY TRINITY.
(The Italian poet Dante Alighieri has lived from 1265 – 1321.)
However, contrary to Dante Alighieri’s three-parted “Divine Comedy”, who has
personified his journey through the underworld by describing his own spiritual experiences in
reflective conversations within his two other egos, symbolised by his idol and leader Virgil (Roman
poet, 70-19 BC, author of the Latin epic poem “Aeneid”) and his idealised
childhood-love Beatrice, JABRO avoided consciously any personifications in her Triptych.
In this respect, there is no doubt that any sorts of artistic creations commonly are the
(unconscious) reflective, spiritual personifications of their creators and thus mainly of
subjective nature. That means, likewise anybody else, JABRO is too (un-) consciously influenced by
her education and surrounding of the Twentieth and Twenty-first Century’s troublesome times,
cursed by the multifarious (industrial) destroying of the world’s fragile environment,
consequently resulting in the irretrievable disappearance of many species. To the same time, in
both centuries holocaustic but avoidable wars were unnecessarily inflicted, by causing with their
negative long-term effects unbearable burden and societal decay for the following generations.
So far, within JABRO’S broadly facetted, self-invented and own-developed theme of the
“CONTRAST-PAIRS IN ACTION“ each other complementing, likewise with the vertical and
horizontal “CROSSED MOUTH” used in her multi-levelled works of art already since 1962,
the artist has tried to symbolise in a subjective-sublimated manner the human race and their
genetic-based, gender-related problematic of interpersonal relationships.
In addition, their psychoanalytical dissections were a main concern, which includes the hints to
spiritual-religious spheres and the analytic-intellectual understanding of different scientific
facts and philosophies’ hypothesis.
On the first two huge pieces of JABRO’S Triptych part ONE (doweled in a right angle), the
holy figure-combination of SEVEN (7) and SEVENTY-SEVEN (77) is represented in 77 individually
created, foreshortened MOUTHS on 7 rows, where each of them is ONE OF A KIND.
Created as the “Contrast-Pair” of “TWO IN ONE” = TWO panels dowelled
together as the first part ONE of the Triptych, there are thirty-five (35) two-dimensional, in
reliefs singly modelled, foreshortened mouths on the Triptych’s doweled left-hand panel of
part ONE, mentioned by JABRO as the symbolic, spiritual and transformative representation of
INFERNO’S SEVEN DEADLY SINS.
On its right-hand panel, the SEVEN HOLY VIRTUES are also symbolised in forty-two (42) painted,
foreshortened mouths, which have already left the INFERNO but still are in need of
PURGATORIO’S different stages in view of their symbolised “PURIFICATION-PROCESS”.
In regard of Dante Allighieri’s definition, documented in his three-parted “Divine
Comedy”, this “purification-process” is essential because of the permanent
attacks of educational and influenzal surrounding’s multi-layered, higher percentage of human
nature’s negativism, which is permanently corrupting and thus repeatedly dwarfing the
development stages of their immortal soul to PARADISO’S TOP.
Consequently, these symbolised, unnamed seventy-seven individuals (“contrast-pairs in
action” symbolising human’s nature in general) are on their foreshortened way from the
INFERNO (dowelled part ONE) to their depersonalising mass-formation of the PURGATORY, which is
represented by JABRO Triptych’s part TWO in form of one huge MOUTH in front view.
This enormous MOUTH has HORIZONTALLY CLOSED “lower and upper” lips symbolising
purification’s different stages, created in JABRO’S own-developed art style of
“GRAPHIC-PAINTING’S” elements and plain red surface formation on white ground.
However, this big mouth of the Triptych’s part TWO - representing the crowd of seventy-seven
(77) mouths “all in one huge mouth” - does not mean their end-station, because it is
also picturesquely “walking” for itself directly to part THREE of the Triptych.
That symbolised action being “on walking action” by part TWO’S single, huge mouth
to the Triptych’s part THREE is visible made with its position in the panel’s format,
which is not in the middle but on its left hand side for demonstrating the way already was gone and
the way still has to be went.
This fateful way of the Triptych’s part TWO leads directly into the exhaustive gigantic,
sidewards VERTICALLY OPENED MOUTH of its part THREE in confirmation of JABRO’S concept
regarding the symbolism’s sense and content of the vertical and horizontal “CROSSED MOUTH”.
In the consequence, after INFERNO’S first stages of soul’s purification, part TWO of
the Triptych is symbolising the following essential stages of PURGATORY’S offered
PURIFICATION and within the opened opportunity to reach PARADISO’S lowest, medium and highest
stages to the TOP then rewarded with the longed for eternal Felicitousness in THE HOLY TRINITY.
For signifying the picturesque actions of “eating” = destroying of the first mundane
life = DEATH and given opportunity for REBIRTH (or RESURRECTION) of the second spiritual life in
its sacred uniqueness, one three-dimensional, big blood-trop (created with hard two-component
material) is leaving on its bottom the one-dimensionality of JABRO’S Triptych part THREE with
its exhaustive gigantic, sidewards vertically opened mouth.
This demanding ONE WAY Purification of the soul is doubtlessly the only thorny path to reach
PARADISO and its different cleansing stages to the top of the HOLY TRINITY.
Summarizing pointed out, JABRO Triptych’s themes are based on different CONTRAST-PAIRS in
ACTION in reference to the relative logical CAUSE- and EFFECT-PRINCIPLES, symbolised by
JABRO’S invention for the arts (1962), in means of her subjective-sublimated, multi-levelled
themes of the symbol CROSS and (CROSSED) MOUTH.
JABRO copyright 1967.
PART II
A.) IT FOLLOWS THE DETAILED EXPLANATION AND PERFORMATION WHY JABRO’S TRIPTYCH HAS TO BE
DESCRIBED AS A MATHEMATICAL CONSTRUCTION BASED ON THE SYSTEM OF EQUATIONS WITH AID OF THE CHRISTIAN
SACRED NUMBERS OF 3 + 7 + (=) 10, AS WELL THE SACRED FIGURE-COMBINATION OF 7 & 77.
B.) IN ADDITION, IT FOLLOWS THE REPEATED BUT MORE DETAILLED DESCRIPTION OF JABRO’S
SUBJECTIVE-SUBLIMATED UNDERSTANDING OF MUNDANE AND
SPIRITUAL CIRCLE
’S LIFE, DEATH AND REBIRTH.
THIS MULTILAYERED THEME IS VISIBLE MADE WITH AID OF HER TRIPTYCH’S SYMBOL THE “CROSSED
MOUTH”, BY JABRO CREATED IN SOME IMPORTANT RELATIONS TO DANTE’S PERCEPTION OF
CHRISTIANITY’S MUNDANE SOCIAL/MORAL LAWS AND SPIRITUAL MYTHS.
C.) AT LAST, IT FOLLOWS THE DESCRIBTION OF THE FURTHER EXTENTION AND SUMMARIZING OF JABRO’S
PHILOSOPHICAL UNDERSTANDING OF PART B.) IN RELATION TO DANTE ALLIGHIERI’S THREE-PARTED EPIC
POEM “THE DIVINE COMEDY”.
The JABRO Triptych’s multi-levelled themes of RELIGIOUS and PHILOSOPHICAL term and content
are symbolising not only different stages of mundane and spiritual LIFE, DEATH and REBIRTH, which
are freely based on DANTE’S three-parted epic poem, the “DIVINE COMEDY”, but also
has lend some subjective-sublimated elements from Einstein’s Relativity Theory freely
interpreted (“it looks alike reality but, indeed, is sur-reality’s wrong
impression”) in regard of perspective’s picturesque foreshortening of her symbol
“Crossed Mouth”, demonstrated in her masterwork’s dowelled part ONE.
In addition, there are some within connected, mathematical equations, the below samples are
confirming.
(Prof. Dr. Albert Einstein (the German physicist) has lived from 1879 – 1955.)
In reword, on the three panels of JABRO’S Triptych, the three-parted themes of the circle
“Life, Death and Rebirth”, as well “the contrast-pairs in action”, are
picturesquely symbolised in the “CROSSED MOUTH”, which is therefore THREE times
subjective differently sublimated on each of its three panels.
On that score, the Triptych is based on the dominant sacred NUMBER THREE (3).
Subsequently, the following THREE numbers - symbolising Christian spirituality’s term and
content - are used in JABRO’S Triptych as “THREE IN ONE”, likewise:
1.) The Holy Trinity (Three in One) = 3 THT and the “Contrast-Pair”
2.) Seven Deadly Sins = 7 SDS, including Seven Holy Virtues = 7 SHV, as well the
3.) Christian Ten Commandments = 10 CTC.
Logically, All THREE of these symbolised and sacred numbers of Christian believing are mentioned in
the following calculation in representation of JABRO’S Triptych sense and content.
That means, the symbolised sacred figure, such as SEVEN (7) is THREE times used in the first part
of JABRO’S Triptych, likewise SEVEN (7) rows of SEVENTY - SEVEN (77) mouths.
They are representing the following sacred number-combination of
3 x 7 = 7 + 7 + 7 or 3 + 7 + (=) 10 and 7 + 7 + 7.
Therefore, they were consequently used in the below calculation, such as:
3 THT + 3 THT + 3 THT + 7 SDS/SHV + 7 SDS/SHV +7 SDS/SHV
= (3 + 7) + (3 + 7) + (3 +7) = 3 THT x 10 CTC = 30 THT/SDSSHV/CTC
= 3 x 0 = 0 + 0 + 0 = 0 = ZERO = AD ABSURDUM = ENDLESSNESS = CIRCLE
= NEW START of LIFE and DEATH!
AGAIN: The term and content of this calculation means, that JABRO’S Triptych is based on the
religious philosophy of the THREE symbolised Christian sacred numbers, such as 3 + 7 + (=) 10.
Actually, they indeed have got a principal role in the JABRO masterwork’s picturesque
expression of subjective-sublimated, spiritual philosophy of the two main
“Contrast-Pairs” of (1a) MUNDANE and (1b) SPIRITUAL circle’s (2c) LIFE and (2d) DEATH.
JABRO copyright 1967.
PART III
DESCRIPTION OF SOME DETAILS FROM THE WORK-BOOK DIARY, REGARDING THE CREATION OF JABRO’S
MASTERWORK “MOLOCH-LIFE: THE SCREAMING SCREAM”, EASTER 1967.
A.) SKETCHES
At first, JABRO produced four sketches of her planned, in the end three-parted masterwork, executed
in four precisely calculated parts of different sizes. The same sort of calculation was brought to
the accurate partitioning of the parts’ given format as well as to the different mouth-shaped
drawings on them.
The FIRST sketch contained in fixed sizes drawings of 35 foreshortened mouths on their
seven rows, reaching from the left hand side to the right hand side across the middle of the given
format.
The SECOND sketch contained as well drawings of well calculated 42 foreshortened mouths on seven
rows across the format’s middle, reaching from one side to the other.
The THIRD sketch contained only one single huge, horizontally-closed mouth in front-view,
positioned not in the middle of the given format but on the viewer’s right hand side.
The FOURTH and last sketch of the planned masterwork contained as well only one gigantic,
vertically-opened mouth in the side-view, exhaustively engrossing the given format.
B.) PREPARING OF THE WOOD-GRAIN PANELS
The sketches with their different fixed sizes of the four huge parts of JABRO’S planned,
gigantic masterwork were then brought to a carpenter, who used his largest saw-machine to cut out
the desired sizes of the four massive parts of grain-wood panels.
After the done delivery of the four huge, heavy panels by the company, the artist has primed and
then painted their surface with white, waterproof acrylic.
After having finished properly this working-process in the artist’s home-studio, the
carpenter was asked to come again for doweling together two of the primed and painted panels in a
right angle.
At first, within the aid of an electric drill, a large quantity of round, a bit bigger than
dowel-sized holes was brought into the opposite flats of both panels, by keeping the respective
distance of approximately three to four centimetres to each other.
When this working process was done, the hard wooden-dowels were glued with professional accuracy
into the holes of one panel’s side part.
When finished, after a drying period of a couple of days, the carpenter came the third time to the
artist’s home for doweling both huge and heavy panels together.
At last, they are forming now in a right angle the part ONE of the planned Triptych.
As mentioned, on the viewer’s left-hand side of the doweled part ONE, the thirty-five (35)
foreshortened mouths on their seven (7) rows have been exactly calculated on referring sketches and
then in enlargements drawn onto the first of the two doweled panels.
C.) PREPARATIONS FOR MODELLING IN TWO-DIMENSIONAL RELIEFS THE THIRTY-FIVE (35) MOUTHS ON THE
TRIPTYCH’S RIGHT HAND SIDE FIRST DOWELED PANEL OF PART ONE
Though, before all these many mouths were modelled in voluminous two-dimensional reliefs out of
“liquid wood”, at first for their stabilisation long and thick nails have been hammered
by JABRO into the panel in the contours of the mouth-shaped drawings and afterwards accessorily
filled them further with nails, still extra stabilised by additional connections with each other by
metres of fine but tough wire.
Afterwards, in a time-consuming, painstaking manner, the artist used the “liquid wood”
(a hard two-component material), brought onto the wire-connected nails in small quantities only,
because of its fast drying-time.
When finished with modelling, all foreshortened 35 mouths on their seven rows were smoothed with
different grades of sandpaper and afterwards plain-red painted, thus dependent on light and shadow
to give them life in plasticity.
These mouths, modelled in TWO-DIMENSIONAL relief formations, are soaring now voluminously out of
their ONE-DIMENSIONALITY, whereby the first seven mouths on their seven rows are parted to 50 %,
expecting from viewer to complement the other half parts in his/her imagination OUTSIDE the
panel’s one-dimensionality.
D.) IT FOLLOWS THE CREATION OF FORTY-TWO (42) MOUTHS IN THE WORK TECHNIQUE OF JABRO’S
INVENTED “GRAPHIK-PAINTINGS”, USED ON THE TRIPTYCH’S DOWELED LEFT HAND SIDE
PANEL.
That means so far, on the viewer’s right hand side of the Triptych’s dowelled part ONE,
JABRO created further forty-two (42) foreshortened mouths on their seven rows. However, this time
they were not modelled but painted with thickly brought on paint, using a broad palette of light
red and dark red-brown. The desired impression of plasticity within the forty-two (42)
“graphic-painted” mouths is given by the professional use of painted light and
shadow’s co-relation.
TOGETHER, the doweled panels of JABRO Triptych’s part ONE are boasting seventy-seven (77)
foreshortened, singly created mouths of each ONE OF A KIND, positioned on seven (7) rows.
E.) THE NEXT STEP IS THE DESIGN OF THE TRIPTYCH’S PART TWO
Part TWO of the Triptych is the smallest of the four panels. On its primed and then white painted
surface JABRO created a huge mouth in front view with horizontally closed lower and upper lips.
The work technique of part TWO is a combined repetition of the seventy-seven mouths’ created
differently on their seven rows of part ONE doweled panels, such as the plain-red painted, in
reliefs modelled thirty-five mouths and the “graphic-paintings” of the other forty-two
mouths. That means, the huge mouth on panel TWO is plain-red painted except the
“graphic-painted” slit between the firmly closed lips.
F.) THE LAST UNDERTAKING IS THE TRIPTYCH’S CONCEPTION OF PART THREE
The biggest panel of the Triptych’s part THREE boasts one exhaustive, slightly abstracted,
plain-red painted gigantic MOUTH from the side-view with its vertically opening reaching from the
bottom to the top into the middle of the given format.
For demonstrating the wide opening, on its back, red mouth-lines were painted bowed together to a
bunch with the aid of sticking tapes, which then were removed after the proper finishing of the
painting’s working process.
In addition, concerning JABRO’S “CONTRAST-PAIRS IN ACTION” and earth’s
gravidity law, one huge THREE-DIMENSIONAL “blood-trop” is picturesquely
“leaving” the ONE-DIMENSIONALITY of JABRO’S Triptych part THREE.
It was modelled by the artist with two-component material, likewise the thirty-five mouths on the
viewers’ left hand side doweled panel of JABRO’S Triptych part ONE.
At first, six long and strong steel nails were hammered in a row into the panel’s bottom
side-part. Then, a stable but bendable wire was twisted around the nails in trop-formation.
Afterwards, the hard two-component material (“liquid wood”) was brought in small
quantities onto that stable wire-construction.
At last, the ready modelled trop was smoothed by the artist with different grades of sand-paper and
painted in the same plain-red paint of the thirty-five (35) mouths modelled in relief-formations.
G.) At last, JABRO used for the protecting outside frame a warmed-up, white-coloured, thick and
tough vinyl strip of the same width, likewise those of the respective edges (opposite flats) of all
four wooden grain panels, for being able tiedly surrounding them by gluing and screwing the vinyl
strip onto their boundaries.
JABRO copyright 1967.
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EXTENTION OF PART II,
IT FOLLOWS IN MORE DETAILS THE DESCRIPTION OF THE PHILOSOPHICAL CONTENT AND MEANINGS OF
JABRO’S TRIPTYCH, TITLED, “MOLOCH-LIFE: THE SCREAMING SCREAM”, EASTER 1967.
JABRO’S three-parted Triptych contains three times the theme (CROSSED) MOUTHS IN ACTION and
as a result three times DEATH of the previous stages of SOUL’S PURIFICATION PROCESS.
Consequently, the Triptych’s three parts are containing as well three times death’s
antonym REBIRTH, based on the end of the previous successfully finished stages of soul’s
purification, up to the TOP of PARADISO in THE HOLY TRINITY’S ETERNAL FELICITOUSNESS!
IN OTHER WORDS:
Similar to the conception of DANTE’S three-parted epic poem the “Divine Comedy”,
JABRO’S subjective-sublimated themes of the soul’s essential purification by different
stages, symbolised in her masterly created three-parted Triptych, are marking each time the DEATH
of the previous reached STATUS QUO and within the REBIRTH to higher levelled liminality.
That means (in case of the Triptych’s spiritual sense and contents) that all the THREE parts
of it are containing (differently created) each time “DEATH and REBIRTH” in the logical
progress’s consequence, starting from the lowest to the highest stages of soul’s
spiritual “PURIFICATION-PROCESS”, symbolised as well three times by the multilayered,
picturesque perception of the “(CROSSED) MOUTH”.
In the same or similar way, the multilayered themes of JABRO’S masterwork are handled
(titled, “MOLOCH-LIFE: THE SCREAMING SCREAM”, Easter 1967), her other masterworks are
containing as well hidden, or openly presented, the symbols of MOTHER EARTH’S FERTILITY,
likewise the horizontal and vertical “CROSSED MOUTH”, giving birth to circle’s
LIFE and within subsequently DEATH, as well “NEW START” in the
“REBIRTH’S” RESURRECTION therewith symbolising a cycle of three different actions.
JABRO copyright 1967.
PART IV
SUMMARIZING OF THE PARTS I - IV AND AT THE SAME TIME DESCRIPTION OF JABRO’S THREE-PARTED
TRIPTYCH AS ONE OF HER FEW KEY-MASTERWORKS IN RELATION TO ALL OF HER OTHER WORK OF ARTS.
The Triptych’s dowelled part ONE boasts on its left hand side panel thirty-five (35)
two-dimensional modelled reliefs on seven rows.
They are symbolising “THE SEVEN DEADLY SINS” on their way from OUTSIDE hemispheres INTO
INFERNO’S own sphere.
For demonstrating their endless march of the imagined outside hemispheres INTO the Triptych’s
INFERNO of part ONE, the first seven mouths on their seven rows are vertically halved, expecting
from the viewers to replace the other halves in their imagination outside of JABRO’S Triptych.
In the second, right hand side panel of part ONE, the forty-two (42) created mouths are, as well,
“one of a kind”, however, this time they are not moulded in reliefs, but each solely
and differently “graphic-painted” with thickly brought on paints in means of a broad
palette of light red and dark red-brown colours reflecting in the painted LIGHT and SHADOW life -
and death’s inevitable roundabouts.
Contrary to “The Seven Deadly Sins”, they are representing in religious metaphors
“THE SEVEN HOLY VIRTUES” each other completing likewise “TWO IN ONE”.
In the consequence, JABRO describes them as the classical CONTRAST-PAIR in ACTION, because they
were coming from the outside hemispheres to the inside spheres of INFERNO’S different
PURIFICATION stages, demonstrated by the mentioned seventy-seven (77) mouths on their seven rows of
the Triptych’s part ONE.
In addition, within Inferno’s different stages of their purification they symbolising the
DEATH of their previous sinful mundane and spiritual lives and within to the same time REBIRTH to
higher levels of soul’s essential PURIFICATION.
After the seventy-seven (77) individuals have left INFERNO’S different purification stages of
the Triptych’s part ONE, they were symbolically transformed in the PURGATORY’S part TWO
to one huge mass-formation, symbolised by one enormous, single mouth in front-view.
The horizontally-closed “lower” and “upper” lips of this enormous mouth are
symbolising the lesser and higher levels of PURGATORY’S added, essential purification needed
to bring DEATH again to Inferno’s previous finished lower cleansing-stages in view of the
REBIRTH’S to the next stages, leading to the TOP, symbolised by the third DEATH and REBIRTH
of the previous purification stages leading to PARADISO’S TOP on the THIRD part of
JABRO’S Triptych.
This huge mouth is also created in JABRO’S art-style of a “graphic-painting”
(copyright). Its working-techniques are managed by a palette of different reds and reddish-browns
(laid in layers on each other) by simulating the desired plasticity with aid of diverse nuances
from light red to dark red-brown, covered with a net of fine lines, partly scratched with a tool
into the still wet, thickly brought on paints.
So far, JABRO’S PURGATORY of the Triptych’s part TWO represents now in one huge mouth
the seventy-seven (77) individuals of part ONE, melted together to one transformed,
supervised-meaningless and thus manageable mass-formation AFTER they have been going through the
first different cleansing stages of the INFERNO.
Interestingly enough, ten years later, this multilayered theme with elements of Christian
mythology, psychoanalysis, as well ancient and modern philosophy is represented again in
JABRO’S oil-painting “ODE TO B. WILLIKENS”, 1976, but without the offered engine
HOPE, given in the artist’s three-parted Triptych “Moloch-Life: The Screaming
Scream”, 1967.
The summarization of the JABRO Triptych multilayered themes’ picturesque transformations of
“contrast-pairs”, likewise these of the INDIVIDUAL’S DEATH by its transformation
to the MASS-FORMATION, can be also interpreted contrarily by means of a positive/religious
signification, such as the soul’s REBIRTH after its death trough
the essential one-way purification to gain eternal, spiritual life in PARADISO’S felicitousness.
To the same time it can be described as the negative end = death of INDIVIDUAL’S spiritual
freedom of subjective developed intellect and mind based on natural tendency’s 20 %
flexibility of education and surrounding, contrary to its 80 % of restricted, unchangeable genetic characteristics.
Despite the matter of fact, JABRO avoided making any personification within this masterwork, she
nevertheless relays on her belief that each human being contains - more or less - in its genetic
structure the GOOD/LIGHT and the BAD/SHADOW, whereby not only “the Bad=Sins” has to be
cleansed by the different stages of Inferno and Purgatory but also “the Good=Virtues”,
because being threatened permanently by devilish contestations and seductions.
JABRO copyright 1967.
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