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This is one of a series of paintings imitating the technique, if not always the conventions, of classical mosaic.
"Minotaur" is a play on word and image and an exercise in methods of representation. The combination of bull and man is articulated in a more complex way than the traditional bull's head on a human body, and the whole suggests a more Kafkaesque metamorphosis. The verbal pun "cave" both provides a physical setting - otherwise blank - and also suggests an emotional response. Placing the Minotaur in the context of Pompeian "beware of the dog" mosaics (as does the technique with which it is painted), the word sets the monster up at a simple level as the object of fear - but the viewer is also invited to ask what more the Minotaur might represent (thinking of Picasso's Minotaurs, perhaps), and whether it might even be the Minotaur itself, with its target bull's-eye and blood-red stripes reminiscent of the bull-ring, which is being ordered to beware. The cave, or labyrinth, is then open to more psychological interpretations.
The canvas is painted around the edges to suggest a mosaic panel, and may be hung framed or unframed.