Artist reception will be held on Friday, December 7th; 8-11PM
A special lecture with Myron Conan Dyal will be held on December 9th
Be silent and ponder upon the war of opposites.
Gaze deeply into your own reflection and cease your inner conflict.
The Reckoning is at hand in which all debts are settled.
Truth has sprung forth and she calls you by your name.
Drink the majestic nectars of the Gods and dance with Death!
Be merry- succeed where others have not…
Behold the Great Work as night and day become one…
The new dawn shines…
Empty your self so that you may embrace Divine Love.
If you do not already know that you are God, you will try to become one by force.
The Christ Chronocrater
Series III: The Reckoning
marks the end of a six-year odyssey known as the Demoneater Saga. The works in The Reckoning are based on alchemy and personal allegory, and are composed according to the zodiac. Attendees of the art exhibition will notice the influence of late Gothic and Renaissance mannerisms with a pinch of Baroque added to the mixture.
Two Years in the Making: The Reckoning is here!
On the last day of Christopher Ulrich's August 2010 show, we offered him the December 2012 slot with the understanding that only he could produce a show worthy of the prophesied end of the world. We dubbed that exhibition, The Reckoning (Cycle Three of the Christ Chronocrator Trilogy).
Ulrich has been hard at work on this series for over two years. The majority of that time has been a seemingly endless succession of sixteen plus hour marathon sessions, and it shows.
You have never seen work like this outside of the Louvre.
Many of you are already familiar with Christopher's work, but this series is on a whole new level. Ulrich has never had the luxury of time that this series has afforded him. Each of the oil-on-wood paintings stands over six feet tall and represents a zodiacal allegory. Each piece is framed exquisitely, and bears a hand crafted title placard. All but one has been coated with a multiple-layer resin finish that brings the painter's brush strokes into the third dimension. The exception is the centerpiece: The Last Supper; a sixteen feet wide and eight feet tall masterpiece with no modern peer.