Wine and Gun

Chapter 126 Aesthetics Victory 02

Clear light poured out from the door.

Hestal stepped on the stone floor of the church. The building under the dome was tall and quiet, and every time he stepped down, he knocked out an inappropriate crunch. And Herstal's eyes were on the thing in the middle of the church - its scale was indeed beyond his first imagination, many wood covered with flowers stood quietly in the center of the church nave, the shape is just like like an abstract ship.

Hestal thinks, as the profilers who started WLPD said, Sunday gardeners do love the imagery of water.

It wasn't a complete ship, but the scribbled shape of a pointed wooden ship sinking slowly in an invisible current. A large number of broken blue petals, perhaps hydrangeas or chicks, were piled up on the floor around the "boat", stacked together like a tumbling blue ocean; The white embroidery thread is like foam on the tip of the làng.

The bow of the "boat" sank into the non-existent river water and blue broken petals, almost flat on the ground, facing the main entrance of the church; while the stern looked like most of the ships that were about to capsize and lose their balance So high up, pointing in the direction of the cross and the altar sculpture in the church. The Virgin Mary on the altar was holding her dead son, watching the sinking ship with a pitiful yet icy stone face.

The ship was stacked with red bodies, which at a glance were blurry white flowers, and Herstal glanced at them and could see that there were about six people. The limbs were twisted and intertwined, the skin was pale due to the lack of sunlight, the limbs had mottled bruises, or the severed limbs were directly exposed to the bloody cross-section; all the wounds had stopped bleeding, but the wounds were exposed to the cold. The part of the air still looks very ferocious.

The postures of these skinny bodies against the well-defined ribs show a vivid dynamic: these people are arranged in a vertical line on the central axis of the church; most of the people near the main entrance of the church are weak The ones lying on the bottom of the boat, lying or sitting, seem to symbolize people who are dead and dying (but they are not dead, Herstal can see their heaving chests and their wide-open, terrified eyes) And the few people closer to the altar were either kneeling or standing, stretching out their hands with all their might towards the direction of the cross of Christ in front, as if trying to hold something in their hands.

They obviously didn't do it voluntarily, Herstal could see the piano strings tucked deep into the skin at their joints, and there must be more to the position where Herstal was standing, out of sight. Most of the brackets are used for fixing, and these people are rigidly fixed in this impactful freeze-frame posture.

This is obviously the main work that Albarino did in the church. The pictures formed after these people were fixed in certain poses evoked certain memories in Herstal's mind, although the individual poses of these people and his The image in my memory was different, but it looked like—

"The Raft of the Medusa?" Herstal asked, and the tone at the end sounded a little raised, and perhaps he was already amused by it.

"A ship of madness, laden with death, about to sink into the deep sea. As we know it in the 'ship of fools' imagery: 'The sick man is imprisoned on the ship, with nowhere to escape. He is sent to a thousand Fork in the rivers or the boundless sea, it is also sent to the unpredictable destiny from the world'."

Albarino answered him in a tone that sounded like admiration. It is a strange irony at this point to consider who pushed them into the boundless sea, weaving their "unexplainable destiny", they stood before an altar of the gods, and Albarino Barker Thomas is probably the least likely type of person to believe that God actually exists. Herstal can't estimate how much God complex a serial killer like Sunday Gardener has, but they'd probably all agree that it's better to be God himself than to believe that there really is a God in the world.

At this time, Albarino continued in that casual tone: "I guess you don't hate Odor Géricault - but the fly in the ointment is that I had to give up because of the lack of material. Giricona's classic triangular composition."

Géricault's famous painting "The Raft of the Medusa" describes the exciting dynamic of a group of shipwreck survivors riding on rafts when they discover a tiny sail in the depths of the ocean: many People have died at the bottom of the raft, but the living people still build a pyramid-shaped human tower and push a survivor to the highest point of the picture. The survivor waved frantically to the undulating waves in the distance. A red cloth.

And the people who fell into Albarino's hands were obviously not enough for him to really build a pyramid of human bodies, so he could only settle for the next best thing and chose to make all the "materials" lined up in a column , the height is gradually rising, Albarino pinned the people on the wooden ship that was about to capsize as the most impressive figures in Rico's oil painting. Now the best option in this situation.

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