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Henry Rasmussen

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20110903114447-1_libertad_a_los_preso_politico
Libertad a Los Preso Politico, 2009 Acrylic, Spray Paint, and Colored Pencil on Canvas 60" X 48"
20110903114640-2_no_violencia_es_fuerza
No Violencia es Fuerza, 2009 Acrylic, Spray Paint, and Oil Stick on Canvas 48" X 60"
20110903114742-3_contra_toda_policia
Contra Todo Policia, 2009 Acrylic and Spray Paint on Corrugated Fiberglass Panles Mounted on Wood 48" X 60" X 4"
20110903114843-4_asesinos_legales_nunca_mas
Asesinos Legales Nunca Mas, 2009 Acrylic, Spray Paint, and Oil Stick on Canvas 60" X 48"
20110903114946-5_donde_esta_luciano_arruga
Donde esta Luciano Arruga, 2009 Acrylic, Spray Paint, and Oil Stick on Canvas 60" X 48"
20110903115055-6_pasion_de_multitudes
Pasion de Multitudes, 2009 Acrylic, Spray Paint, and Oil Stick on Canvas With Bullet Hole Perforation 48" X 60"
20110903120412-1_roads_to_rimbo
Roads to Rimbo, 2010 Acrylic, Color Pencil and Spary Paint on Wood Panel 72" X 72"
20110903120702-2_battle_of_poltava
Battle of Poltava, 2010 Acrylic, Oil Stick, Color Pencil, and Spray Paint on Wood Panel 72" X 72"
20110903120821-3_quarrelsome_threesome
Quarrelsome Threesome, 2010 Acrylic and Spray Paint on Canvas 72" X 72" (three Joined Panles)
20110903120904-4_atomic_rose
Atomic Rose, 2010 Acrylic and Spray Paint on Canvas 48" X 48"
20110903120947-5_fifth_contraction
Fifth Contraction, 2010 Acrylic and Spray Paint on Canvas 36" X 36"
20110903121026-6_beat_82
Beat 82, 2010 Acrylic and Spray Paint on Canvas 36" X 36"
20110903121208-1_the_beckomberga_mask
The Beckomberga Mask, 2010 Acrylic and Colo Pencil on Canvas 54" X 54"
20110903121303-2_twice-stricken_truth_seeker
Twice-Stricken Truth Seeker, 2010 Acrylic and Spray Paint on Canvas 72" X 48"
20110903121350-3_bomb-blast_bystander
Bomb-Blast Bystander, 2011 Acrylic on Canvas 72" X 60"
20110903121450-4_hiroshima_man
Hiroshima Man, 2010 Acrylic and Color Pencil on Wood 60" X 48"
20110903122021-5_gigolo_gigante
Gigolo Gigante, 2010 Acrylic on Canvas 60" X 48"
20110903122110-6_pinstripe_patriot
Pinstripe Patriot, 2010 Acrylic and Color Pencil on Canvas 72" X 48"
20110903122231-1_tree_of_life
Tree of Life?, 2007 Oil and Graphite on Canvas 48" X 36"
20110903122312-2_golgatha_1
Golgatha 1, 2007 Oil and Graphite on Canvas 48" X 36"
20110903122402-3_baby_jesus
Baby Jesus, 2007 Oil and Graphite on Canvas 60" X 48"
20110903122516-4_mary_jesus
Mary Jesus, 2007 Oil and Graphite on Canvas 36" X 36"
20110903122602-5_golgatha_2
Golgatha 2, 2007 Oil and Graphite on Canvas 48" X 36"
20110903122653-6_grave_image
Grave Image, 2007 Oil, Graphite, and Oil Stick on Canvas 48" X 36"
Quick Facts
Works in
Santa Barbara
Statement

Henry Rasmussen’s The Beckomberga Mask series is comprised of over three dozen emotionally riveting paintings. The imaginary mask is a constant theme in each of the works, speaking of the countless victims and victimizers in a world held hostage by crime and violence. Originally intended for use as patient restraint, the Beckomberga mask was later adopted by camp guards in Nazi Germany, where it was used as a bandage to contain bleeding after brutal beatings. In its ultimate and most insidious form, the mask was employed as a disguise by corporate executives, politicians, and religious leaders with the objective of obscuring their true identities and intentions. His altruism is clearly visible in his wildly passionate and spontaneous brushwork. Rasmussen takes this same approach in another series entitled Cry for me Argentina. Inspired by photographs Rasmussen made in 2009 of graffiti found on walls in Buenos Aires, the messages he chose as subjects—scribbled, scratched and spray-painted onto stucco facades and corrugated steel sidings—reflect the agony of the turbulent years surrounding Argentina’s Dirty War and represent the thousands that were killed, “disappeared”, or tortured. Rasmussen’s various works all share the common thread of the notion of justice: social, political, personal, and religious. His Faith in Question series addresses the modern incarnations of Catholicism’s seven deadly sins: famine, war, poverty, child pornography, fundamentalism, corruption, racism. The cross and double-cross reflect Rasmussen’s own experiences as a young man raised in a religious home where rigorous rules of piety were contradicted by abusive acts of hypocrisy. Far from autobiographical, Rasmussen’s atavistic and metaphorical works illustrate his choice to reject art created exclusively for the purpose of decoration in favor of art with the aim of expressing social concerns.