Enframing Bacon.

The work of the painter Francis Bacon  is here explored as the basis for a graphic analysis of overlaying geometry and multiple horizons and vanishing points imparting a spatial confusion that serves to heighten the tension in the work.  

Further, the use of thinly applied, tenuous framing lines is also a frequent trope employed by Bacon and discussed by Gilles Deleuze in  “The Round Area, the Ring” in Francis Bacon: The Logic of Sensation as a device that emphasizes the figurative elements in the paintings, suggesting a three-dimensional clarity but that obscures the violence of the disembodied subject matter. In addition to the obvious framings, the overlapping geometries generate a series of virtual enframing elements that reinforce and augment the uncanny and disturbing imagery in the work in a kind of subliminal cubism that deceives as much as it reveals.

After exposing the various horizons encountered in Head I (1948), these are then are  to generate a warped x,y,z coordinate system that simultaneously unifies the geometry of the canvas while exposing the hidden 'weight' of gravity within the depicted scene.