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Our Expulsion (2022) Drawing by Edwin Loftus
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This image portrays the moment when Adam and Eve are confronted by an angel of God baring a flaming sword who informs them that they are being expelled from Paradise.
The tale itself, whether literally true or not, is an allegory of what changed in their relationship with God when they defied His ban on eating the fruit of the Forbidden Trees, planted therein. They have two choices, "Knowledge of Good and Evil" or "Immortality", and they choose to taste Knowledge.
One could easily fill a thick book with the implications of just this part of their story. One aspect of it is that when ignorant of a choice of accepting the Rule of God, they did so and lived in Paradise. But once they were aware of a choice, they were no longer fit for Paradise until they decided which way they would choose.
In this approach, eating the fruit is not an "Original Sin" which all humanity has inherited. It is an original choice, which all of humanity must make for themselves. Sin lies not in inheriting the consequences of a choice made by our ancestors, it is in choosing in our own lives not to accept God as our Ruler.
Without getting into all of the variations in interpreting the implications of that difference, let me concede that this is not the dominant thought in Christianity and in the past would have been considered heresy and punished by most Christians with internal exile or death. A common belief today is that a "choice" that leads to destruction if you don't choose as you are told to is not a real choice but an incentive to lie.
But if an institution based on the worship of God, takes away from humans the choice God gave humanity (each of us), is that really an institution that accepts the Rule of God? Today, no institution of Christianity attempts to do this ... but in the 2,000-year history of Christianity, that is a fairly recent reform.
Issues upon issues, upon issues arise when one tries to delve into such questions.
Fifty years ago, as a student of Art History and in the field of Philosophy, the special issues related to Ontology, (theories of reality), and Epistemology, (what is known and how can it be considered known), I was fascinated by "movements" in "modern art" that claimed an intellectual superiority over earlier, "representational" "movements" in art.
Oh ... Really?
I respect some of the "movements" in modern non-representational and representational art. But anyone claiming superiority of one over the other is an intellectual fraud.
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Edwin Loftus is an American painter and draftsman born in 1951. His interest in art began at the age of 4 when he decided to draw something real rather than working from his imagination.
As a child he excelled at drawing and as a teenager he began to experiment with oil painting. In college, he took courses in art and art history and realized that true art had nothing to do with the quality of the drawing or painting, but that it had to have the ambition to push the boundaries and expand the visual experience.
He also studied philosophy, psychology and history and quickly realized that it was just another art establishment trying to defend its elitist industry and reward system. Their skills were almost non-existent, they knew nothing about psychology, perception or stimulus response, and they were extensions of the belief system that made communism, fascism and other forms of totalitarianism such destructive forces in the world. They literally believe that art shouldn't be available to ordinary human beings, but only to an elite "sophisticated" enough to understand it.
Edwin Loftus realized that the emperors of art had no clothes, but they were still the emperors. Gifted in art, he worked hard to acquire this skill. So he found other ways to make a living and sold a few artworks from time to time. For sixty years, many people enjoyed his works and some collected them.
Today, Edwin Loftus is retired. Even if he sold all his paintings for the price he asked, "artist" would be the lowest paid job he ever had... but that's the way it is. It won't matter to him after he dies. He just hopes that some people will like what he does enough to enjoy it in the future.
- Nationality: UNITED STATES
- Date of birth : 1951
- Artistic domains: Works by artists with a certified artist value,
- Groups: Contemporary American Artists
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