The Cotton Duck

November 24, 2015, 8:08am

Renee McGinnis: The Lazarus Fleet

Their faces are, for the most part, turned up in the universal angle of defiance—haughty! powerful! the coquettish imperial bearing of models, trusting—fervently praying—that what they have heard, what is whispered and shouted and injected into their very marrow is true, that their beauty is their birthright, that the aesthetic will hold, that pulchritude is a redoubt, impossibly thin but improbably strong—their noses aimed slightly forward to the sky, their strong, powerful lines—slavish lines, lines built with all of the force, knowledge, technology, hubris humanity can offer—their vanguard and leading edge, a knifing into the eventide they are doomed to forever ply, no, should!, should forever ply!, but are not, are resting ghoulishly atop the waves, and who could deny The Girls their defiant turn, their dangerous angle, being dead as they are? It is their final wish, their visual hagiography, the last cruise of the Lazarus Fleet, the dead risen from the depths, their opulence decayed and wearing gilt upon their prows, singing a mournful banshee's song, the churn of the screw and the pounding of the sea accented by the rhythmic clang of a skeletal pelvis hanging from the rode…- B. David Zarley, Chicago Contributor

Renee McGinnis | MS Sea Horse, 2013, oil on mdf panel, 48 inch diameter. Photo courtesy of Renee McGinnis