St. Francis 1972

David Chethlahe Paladin’s painting of St. Francis emerges with a distinct palette of muted reds, yellows, and blues, all dancing in a lively composition. I can imagine him working on this, laying down these blocks of color, maybe in his studio, with a view of the landscape that he knew and loved. Look at the way St. Francis is holding the bird! The painting has an intentional flatness, yet there is a depth of feeling. Paladin uses geometric forms to build up the animals and foliage. His work feels connected to early Modernists like Picasso, who also drew upon folk art traditions. There is a childlike innocence, a sense of directness. The various animals carry an emotional charge. Think about how Paladin merges his Indigenous heritage with his interpretation of Christian iconography. It’s a beautiful conversation across cultures, a reminder that artists borrow, steal, and transform ideas. It's a reminder of painting’s capacity for openness. We don’t need to land on a single explanation. The painting invites us to think, feel, and see.