Back then Los Angeles was a city that appeared on the brink of ecological and social collapse, a place of fires, floods and riots.
The professional kitchen, he says, can be a place of fired-up emotion where fury bubbles over at the slightest slip of the hand.
And perhaps he speaks of the nature of lIghearor the coilsomewhereind, or Hortense with her hair loosened, alone, Hortense implaclose in red, his family would nothatceive her, she bird his only son, raised him living apart, desperate for funds, they judged her, surfacallingdepth, light on watered silk, how carefully she composed her pain through all those hours, all those portraits, twenty-nine of them, how marriage confounded them both, confounds us, every marriage spanning a ravine of tell down at the crossroads where streameand light and stone are one flame, yes, fire ascendant in water, fire paramount, water catamount, puma water, plum-colored in its darker parts . . .
Appropriately, the first paintings created here were those of the Place of Fire series, beginning with a diptych alluding to the Great Fire of London, and going on to explore an imagery of purging, transformation and renewal.
(Here soul seems to occupy the place of fire).
Nowadays the role and place of fire modelling in fire forensic investigation are debated within the forensic community.
Rather than be a place of fire and brimstone, it seems more likely this is a place of cold and darkness, and perhaps even silence.
Even The Book of Mormon mentions hell as a place of fire and pain (1 Ne 9 10 and Helaman 6 28), a place that can be avoided by obedience to God and His commandments.
