This is still my stuff.

I knew less of Bacon before visiting the current exhibition of his work at Tate Britain than I did about Rothko, and while I can't say it had as powerful an effect on me, it's an impressive array of work, and a well-constructed exhibition.

Bacon's forthright use of structure, background and the “space-frames” featuring for example in various of his Studies after Velázquez’s "Pope Pius X” highlight the contrast of his protagonists’ emotional and physical urges with the constraints of their emotional and physical environments, both enabling and heightening his visceral evocations of how transitory are rage and angst against the carcass-likeness of our corporeal forms, and how transitory in turn are those forms, electrified briefly by some primal spark, simultaneously supremely vulnerable and supremely powerful in their ability to exploit that vulnerability, whether in themselves or in others of their kind, collapsing ultimately either through such exploitation or the passage of time into dilapidation and decay.

As the exhibition guide relates, “Explaining the explicit violence of his third triptych in 1965, [Bacon] simply stated, ‘Well, of course, we are meat. We are potential carcasses.’” You got it right there, Francis.