Lancette Arts Journal
Founded in 2000

Art Reviews
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September 2004

Mark Lombardi, Global Networks on show at the Art Gallery of Ontario to December 5, 2004

By Alidė Kohlhaas

When I looked at Mark Lombardi's drawings from a respectful distance, to my mind came three kinds of images: Maltese silver filigree, Maltese lace, and Russell Smith's Whiskheads from his 2002 fable, The Princess and the Whiskheads. For those who don't know what a Whiskhead is, here is a very brief outline. They are young people, hippy-like, who reject their society and love to weave very fine strands of wire through their skin in various patterns. Some very brave ones, or foolish ones, even had the wires pushed through their ears and around the lobes of the brain—highly painful experience—to apparently heighten their perception. The wires poke out of their ears, but are visible only when light catches them at a certain angle.

On closer view, however, Lombardi's work, now on show at the Art Gallery of Ontario, became a quite different concept, namely that of flow charts. Flow charts of a peculiar type, which record the apparent interconnection between various individuals, commercial and banking institutions across the globe. All the information recorded by this American artist on his huge draftsman-like drawings had been gleaned from public records, such as newspapers, but whether the connections he made are reality is another thing. A forensic expert in the field of banking warned me not to rush into accepting Lombardi's concoctions at face value because I might be led into accepting all kinds of conspiracy theories.

Among them is that Lombardi, who committed suicide by hanging at age 49 in 2000, had been the victim of foul play. The reason given for this theory, which contradicts police findings, is that he had made connection in his work between political figures and shady characters, between countries that are supposed to be on opposite political spectra, between legitimate and illegitimate business, and . . .

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