Artist Leo Tangula’s paintings of apocalyptic bio-warfare, destruction, and struggle between Facist and peaceful world orders, include some mystic symbolism in Mexican panoramic political mural style and dynamic curves. His intention is similar to Pablo Picasso’s Guernica, which dramatises the horror of the Spanish Civil War to promote peace. The main general theme in Tanguma’s Order of Chaos artwork is revealed by extra features of type 12 /13 Heart, typical of heart (here of the mother and dead child), death (a procession of mothers with dead children, and slashed dove), rounded (sabre, shawls, wall, rainbow), weapon (sabre, rifle), or war. Four characters on two axes express this type here, two of these by their eyes and chest. Another general theme in this work is type 1 /2 Builder, typical of twisted postures (here of six characters), cluster (procession, and camp), bird (dove), tower (two), ruin (two), or book (here at 7).

Yet another general theme here is type 15 Maker, typical of churn (souls entering and leaving life), order (part of the title, ironically chaos), bag (shawls, respirator), weapon, or smite. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.

Leo Tanguma; Order of chaos, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.

Type Label; Character (noting archetypal features):

2 Builder; Window A, ruin (twist, tower, build, ruin).

3 Queen; Window A, ruin (sacrifice).

4 King; Window B (rectangle) ruin.

5a Priest; Window C and floor (horizontal).

5b Priest; Window D, ruin.

5c Basket Tail; Poem manuscript (weave, reveal) by Hama Herchenberg, 14, who died in Auschwitz Nazi concentration camp in December 1943: “I once was a little child who longed for other worlds, but I am no more a child for I have known fear, I have learned to hate, how tragic then is youth which lives with enemies, with gallows ropes. Yet I still believe I only sleep today, that I will wake up a child again, and start to laugh and play.”

6 Exile; Dove or Peace stabled (sacrifice).

7 Child; Book (‘bag’, unfold, eyeless).

7g Gal.Centre; Box? (juncture).

9 Healer; Teddy bear (‘strong’ in irony) as comfort (heal).

10 Teacher; Child holding (arms up) toy bear (‘hunt-master’ in irony).

11 Womb; Mother’s midriff (womb).

12 Heart A; Dead (death) child.

12 Heart B; Dead (death) child’s chest (heart).

12 Heart C; Mother’s chest (heart).

12 Heart D; Blonde woman.

13 Heart A; Mother.

13 Heart B; Woman in white shawl.

13c Basket Head; Woman with shawl (hat) in procession of mothers.

14 Mixer; Procession of mothers.

15 Maker; Fascist soldier with bandolier (rope), strident (rampant), imposing rule (order), with gas mask (face, bag), gun (‘mace’, weapon), slashing (smiting) a peace dove.

15g Gal.Gate; machine gun (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Wall between two ruins (juncture).

11p Gal.Pole; Blonde woman’s jaw (limb-joint).

Midsummer; Soldier’s thumb (limb-joint).

Midwinter; Child’s foot (limb-joint).

The polar triangles are on the horizontal and vertical planes. The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by ,,,,,, prominence. Transitional time-frames are typical of themes of change.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

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