“Of this work, Schroeder writes: ‘After reading The Divine Comedy, I was interested in having my own version of Hell and its different circles… I wanted my version more like a play than a painting. I wanted to describe all the mixed feelings in Hell: justice, tears, cries, desperation, evil, suffering, redemption and sorrows. For me, Hell is not necessarily black and dark… The use of colors is also to illustrate the three parts of the poem: Hell, Purgatory and Heaven. My Inferno becomes a ballet where souls, evils, judgments and penalties are mixed… Maybe we can be better and win our place in Heaven walking through the Good and The Bad. Our souls can be delivered from evil through this long and hard journey. My Inferno is a theatre, a global vision of Hell and its circles, but also a sacred song of redemption.'” —Artistic Interpretations: Frank Schroeder, Cornell University Library’s Visions of Dante Exhibition, curated by Andrew C. Weislogel and Laurent Ferri (2021; retrieved October 26, 2022)
“Dante’s journey paints a fine portrait of the world I was living in when Convoi Royal was created. This time, the world is a lot like reality. A world running a merciless race, steered by wild beasts devouring everything in their way. The huge hooves hammer the ground, chipping it away to form an infernal whirlpool. The earth trembles with each thud, tilts, and is thrown off balance. A terrible panic strikes its inhabitants. They raise their arms to shield their heads, run around in a crazed fray, seeking temporary shelter. In the beginning, these wild animals were normal beings whose duty was to ensure a better future for the world, but their stomachs were too empty and their prey too easy for this duty to be respected. They decided to satisfy their ego instead, rather than work for the well-being of their numerous fellow beings who were famished and dying. The unknown paradise started its royal convoy. Backed up against the wall, I resign myself to a constraint, deadly as it may be: to leave.” –Jems Robert Koko Bi
Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.