The Birth of...
Again, in The Birth of Inertia II, the woman ascends and descends a set of stairs alongside a bridge, her long hair suggesting a farcical gust. The setting itself is a contradiction, until the subtly of a vertical image flip from one to the next reveals itself. The vertical flip and the contradiction of motion are visual links—allegories that Geenen surreptitiously layers on the work. The act of ascension, against the wind, is to question reality as it is handed to us; suggestion, on the other hand, is the wind at your back. The image wants to sweep you away; your intellect fights the desire.
The Birth of Reincarnation perfectly pulls together Geenen's subtlety and mastery of purposeful construction. A pair of storks soar over a graveyard, archetypes of death and birth combining in spectral fashion. One stork’s wing stroke is the inverse of the other; one pushes, the other pulls. The mirror flip is too perfect to not raise suspicion. Yet Geenen’s touch of artifice always skirts interference, and by his hand the image and its meanings come into full relief.