Hieronymus Bosch

The Garden of Earthly Delights was painted in the Netherlands from the years 1409-1515. It is a “triptych” painting with a scene-in-time displayed in each of its three panels.

The first panel depicts the garden of eden from the story of genesis; It is thought that God is displaying Eve to Adam for the first time, just after he created Eve from Adams rib. The scene shows a variety of animals, both mythical or foreign to the Netherands. Adams expression seems satisfied and riddled with male curiosity. Eve seems reluctant and bashful.

The middle panel shows characters in a celebration of Lust and indulgence. The people communicate and engage with each other in an erotic fashion. The utopian ambience is indicative of the care free life, void of sin; The earth which God may have intended if Adam and Eve had avoided temptation. The subjects engorge in over grown fruit larger than themselves, eachother and play innocently with large animals, like a fish out of water and a giant owl.

On the river amongst foolish play, floats a couple in a glass orb. The orb is cracked to a point just before shattering. This could be foreshadowing what is to come and that their mindless passions are transient and will not last forever; The bubble must pop.

This is a direct reference to the fall of man, Eve picking the apple from the tree of knowledge of good and evil and disobeying God’s wishes. The characters are completely entranced by the fruit and seem to care about little else. The man overcome by lust presents a giant strawberry to the woman while trying to seduce her, the woman is either pregnant or bloated from great amounts of fruit.

The final panel paints a “hell-scape” or “Apocalypse” , the result of the human race giving in to temptation and earthy delights. Lust has its consequences, those being impaled by arrows, tormented by demons. what was once an innocent scene of boastful nudity is now insecure figures hiding their naked bodies.

a giant bird sits on his throne eating people and discarding them in what can only be described as a medieval toilet. where people excrete into a hole of trapped souls.

people retreat inside the tavern that is the carcus of a “tree man”, hiding from the chaos outside and drowning their sorrows in ale.

Giant ears and a knife tower and crush bodies below it, standing with phallic pride as cities and people burn with it.

its interesting to compare this work of 500 years ago to my own painting in that it is a cautionary of pursuing lustrous delights. Here they face the wrath of disobeying god and it has many religious ties. Mine stands alone as Nihilist, far from a religous entity but is cautionary of our own habits destroying ourselves.

Zdzisław Beksiński

beksiński was a polish artist who specialised in the area of “Dystopian surrealism”. He lived quite a sad life, with his wife dying and his son committing suicide a year afterwards, his paintings reflect the misery and emotional wasteland that must have existed inside of his mind.

Beksiński’s work is dark and disturbing, he paints a world filled with death and emptiness, where creatures that could have once been human lurk in the shadows and interact with the viewer. Cities and forests have burned, grounds have crumbled, gravestones and bodies have piled high. Everything that was, isn’t. Though his work still holds an essence of beauty. The desolate scenes seem to glow through their shadows and in every painting there is a focal point of light somewhere in the distance, the idea of hope always remains. Despite the fall of what once was, the sun and moon still shine in his work. His work really resonated with my own darker emotions, it confirms that the darkness does exist to other people and it revels and boasts about it. It gives a tremendous amount of detail and dedication to emotions of helplessness and depression. As if being lost in exerting the dark that existed inside of him helped him in releasing his pain. Tragically, Beksiński was stabbed to death at the age of 75 over £100, extremely depressing.

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Kate Tempest

Kate is a modern spoken word artist, poet, performer, play write and novelist. she won the Ted Hughes award for modern poetry in 2013 and was names a Next Generation Poet by the Poetry book society.

Her song Tunnel Vision describes the subjects I want to touch on through my own work.

[Verse 1]
Indigenous apocalypse, decimated forest, the Winter of our discontent’s upon us
Desolate apostles, left with Strongbow at the crossroads
We are nothing but an eating mouth, oesophagus, colossal
We won’t stop until we’ve beaten down the planet into pellets
Before the interstellar mission to inflict more terrorIt’s killing me, it’s killing me, it’s filling me, I’m vomiting, it’s still in me
Everything is fine really, silly me
Poor kids shot dead, poor kids locked up
Poor kids saying, “This is the future that you left us?”
Stopped up lunch meat, processed, punch from an unclean fatcat
Tasty, tasty poison
Carcinogenic, diabetic, asthmatic, epileptic, post-traumatic, bipolar and disaffected
Atomised, thinking we’re engaged when we’re pacified
Staring at the screen so we don’t have to see the planet die

She speaks of the abuse we have performed on the planet, abuse that has become a natural part of life to us. The abuse that is led by our constant need to fill our lives with objects of luxury that are sold to us, “the winter of our discontent” and “we are nothing but an eating mouth” Consumerism is killing the planet and it will lead us to the end of resources. A capitalist, consumer led economy leaves the human race feeling empty and used. We are nothing but the money we spend, we are nothing but the things we buy. Our consumption is our only contribution to society.

“left with a strongbow at the crossroads” , Society is dumfounded, we don’t know what actions to take towards a better future, with our political leaders plans confused and falling apart, society as a collective are lost and we have no idea how to make impactful actions for change. Instead, we are left with alcohol and common leisure to make life bearable and we drown in it to escape the idea of life’s pointlessness. Addiction is merely escapism.

“everything is fine really, silly me”, There isn’t much left for us to do but remain in ignorant denial about the state of everything, we blame ourselves for feeling down and lost. We chalk it up to self inflicted negative emotions. but we are a reaction to the world around us. there is only so long we can continue to let it go and force ourselves to believe that everything is fine, with our heads down.

“stopped up lunch meat, processed, punch from an unclean fatcat, tasty, tasty poison”

The poor pay for what they can afford, and what is made affordable is unhealthy and processed in factories; stuffed with fat and chemicals, diluted and manufactured for maximum profits. The profits of the owners, “the rich” “the fatcat” people we will never know or be connected to. The ones that watch us suffer and laugh as their bank balance grows ever higher. There is no human growth here, only empty purchases for the benefit of nobody but the rich, who have no interest in the globes state of physical and mental health. Or the globes health.

“staring at the screen so we don’t have to see the planet die” It isn’t really our fault, we just want to work and put food on the table and stay alive and afloat. We use what we can around us to try and stay happy, the introduction of technology has given every home an instantaneous escape pod to another state of consciousness; which we use happily to escape the dark reality that is global warming, social decline, war and starvation.

[Verse 2]
She’s screaming, she’s screaming
The drones turned her beautiful boy into a pile of bones
No body to bury, nobody is home
Running from war, the boat’s full, the boat’s sinking a mile off shore
No beds in the hospitals, our minds are against us
Imagine your daughter was gunned down defenceless on her way to school
There’d be uproar
But she’s collateral damage, it doesn’t matter
Now if our kids are fine, that’s enough for us
You can’t love into a vacuum, there’s got to be a limit
Welcome to the biggest crime that’s ever been committed
You think you and I are different kinds, you’re caught up in specifics
You and I apart are easier to limit
The illusion’s so complete it’s impossible to bring it into focus
Cinematic stock footage, you think people are locusts
Uniform men keep unleashing explosives

She speaks of the pain that people subject to modern warfare suffer daily. The people that have to flee their homes and seek refuge in foreign places. The people that are turned away because we are told that we don’t have enough room for them, and we will suffer and struggle if we do. Widespread media has desensitised us from violence we think is far from us. The illusion of a healthy and happy world, that’s much easier to believe. We are separated and segregated so we are easier to control and keep down from questioning, what is the truth ?

[Verse 3]
Tunnel vision, tunnel vision
Work, drinks, heartbreak
You can’t face the past, the past’s a dark place
Can’t sleep, can’t wake, sitting in our boxes
Notching up our victories as other people’s losses
Another day, another chance to turn your face away from pain
Let’s get a takeaway
And meet me in the pub a little later, we’ll say the same things as ever
Life’s a waiting game
When we gonna see that life is happening?

We choose to focus our minds on the simpler things that are directly in front of us, our jobs, our social life, our relationships. And through this we ignore the global issues of society; but what else are we left to do, we don’t know how to create change, and the people that are in power above us ignore our pleas and protests. Let’s get a takeaway and go to the pub and indulge our senses, get drunk and laugh and numb everything outside of the pubs four walls, escapism from external reality. Life is happening, but is it easier said than done to make a change, or are we comfortable ignoring pain.


And that every single body bleeding on its knees is an abomination
And every natural being is making communication
And we’re just sparks, tiny parts of a bigger constellation
We’re minuscule molecules that make up one body
You see the tragedy and pain of a person that you’ve never met
Is present in your nightmares, in your pull towards despair
And the sickness of the culture, and the sickness in our hearts
Is a sickness that’s inflicted by this distance that we share
Now, it was our bombs that started this war
And now it rages far away
So we dismiss all its victims as strangers
But they’re parents and children made dogs by the danger
Existence is futile, so we don’t engage
But it was our boats that sailed, killed, stole, and made frail
It was our boots that stamped
It was our courts that jailed
And it was our fuckin’ banks that got bailed
It was us who turned bleakly away
Looked back down at our nails and our wedding plans
In the face of a full-force gale, we said
“Well, it’s not up to us to make this place a better land
It’s not up to us to make this place a better land.”
Justice, justice, recompense, humility
Trust is, trust is something we will never see
Till love is unconditional
The myth of the individual has left us disconnected, lost, and pitiful
I’m out in the rain
It’s a cold night in London
And I’m screaming at my loved ones to wake up and love more
I’m pleading with my loved ones to wake up and love more

We disconnect from war and see those people as “other”, we sat back and allowed “our government” or the MEN in power, to destroy lives and communities. we stayed silent and stayed in our homes and ignored the destruction that we could not see, ignore the screams we cannot hear. Our country did all of this for wealth and our banks still crashed and went bankrupt. The wars are still happening and we have no idea why. People are still starving and we tell ourselves that there is nothing we can do, that we are helpless. And we stay in our bubble of individualism because it makes us feel secure. To love more is to hurt more too, but there is not much left to do but feel the pain and take action against it. The people that lead us will destroy us.

Keith Haring

Haring was a very popular street artist of the 1980’s and his work is still recognisable and well circulated to this day. I have seen a lot of haring’s work before in a more commercial and simplified form with his easily identifiable figures of people and dogs and also his NYC subway advertisement takeovers. In the news of the art world a large mural he had painted on the outside of a museum in Amsterdam had been uncovered from metal cladding and this sparked my interest again.

I followed this by reading a biography including his early more personal work. It was interesting to see his work depicting human interaction with technology, of the time TV and radio and his clear disagreement with it, with “X” displayed on many of the screens he draws. Either an instruction to stay clear and disbelieve the media that is fed to us, or a comment that it’s all empty Bullsh*t used to control the masses with widespread information and advertisement.

I was also very surprised and pleased to find so many drawings of gay sex, masturbation and scenes of alien abduction. There are some interesting and questionable images below of men having sex with each other and with dogs? which I don’t understand or necessarily wish to. I especially like the drawing of a UFO destroying a Nuclear power plant with its red laser beam. It’s interesting to see the combination of alien probing combined with Homosexual intercourse, what I think is most likely a comment on the societal view of Gay people at that time. Homophobia translated in a visual context we can understand as Alien; foreign, disbelieved and misunderstood.

I also really enjoy his coloured illustrations, their so full of life, movement and chaos. Specifically the image of the people drowning in the earths flowing blood which still resonated with todays global issues and climate emergency. He also draws the christian cross upside down which is a symbol of the anti-christ or satan, and beside that a figure which could be the devil with his neck being stretched or cut. He draws images of demonic figures and people in what I assume the pits of hell. while still maintaining his graphic, single-lined style. The three eyed face is great, painted with enamel on metal which I would love to try myself.

Haring also created a project called “Apocalypse” , In these prints he draws explosions rising high above crowds of people below, combined with satanic iconography. Demonic creatures fill the space among pieces of the human form. chaos of line, colour and pattern explode on the page. Jesus encased by rings. 666 corners a page. Mona Lisa smiles behind an eruption as if she always knew what was to unfold. inexplicable chaos as an apocalypse would be.

“But art is spilling out of its frames into subway graffiti. Will it stop there? Consider an apocalyptic statement: “Nothing is true. Everything is permitted.” – – Hassan i Sabbah. Not to be interpreted as an invitation to all manner of restrained and destructive behavior; that would be a minor episode, which would run its course. Everything is permitted because nothing is true. It is all make-believe, illusion, dream…ART. When art leaves the frame and the written word leaves the page – – not merely the physical frame and page, but the frames and pages of assigned categories – – a basic disruption of reality itself occurs: the literal realization of art.”

Nadia Lee Cohen

Nadia is an American Photographer and Film-maker, her work is unlike any I have ever seen. Pulling from a culture and style reminiscent of the 1960’s-1970’s, she displaces the female model into a world of perfected, polished satire. She distorts the reality of societal pressures and beauty standards to their extreme counterpart with the use of makeup and props; extremely long nails, dark tan, huge wigs, extravagant makeup, masks and even a third breast to portray the extreme eventuality of where a path based solely on the beauty of appearances will lead us.

Her use of lighting is really unique and adds a blinded-by-the-sun feel to all of her work. The gloss/oil of the skin and perfectly composed imperfections of her subjects is intrusive and irreverent in nature; A discomfort we all need to feel.

“In response to homogenous ideals of beauty I wanted to create a satirical world in which the female inhabitants have pushed their appearances into cartoonish, melodramatic and extreme representations of femininity; yet are still looking to improve themselves even further.”

Nadia’s work fights against the beauty industries endless campaign with style, a great sense of humour and a genuinely diverse reality of what a woman is. Nude but not an object, displayed with personality and human-ness.

Alex Gamsu Jenkins

Alex is a self taught illustrator who has gained popularity on instagram with 372k followers. He depicts the human experience through the forms of obscure and surreal , somewhat genderless figures that usually have strangely coloured skin, three fingers or multiple eyes.

His use of pastel colours sets his style aside and his dot-work shading adds a grimy quality to the scenes. Through his abstracted scenes he shows and reflects on a lot of the daily activities we have in common; A fair few talk about technology and the mindless abyss or alternate reality staring into a phone screen can create. the negative mindless chatter or the fantasy of escapism we all take part in daily. I particularly like the drawing below titled “Beer” in which through the pint glass we see the true emotion of a man at the bar, total despair and helplessness submerged and surpassed with alcohol, and outside of that a broken and slumped smile, with a body that seems to be melting around them; a visual representation of feeling drunk. behind him various disturbing characters loom and fight each other, reflecting on societies habit of pub violence.

Alex does a great job of transcribing what it feels like to be human in todays age, which is such an important gift that art can give and one I aspire to follow in. He also doesn’t shy from making stupid jokes with his art which is something that brings joy and genuine happiness to his audience; Its great to see someone with such a large following stray away from confirming for the sake of audience and big brand names and just having fun with his art.

David LaChapelle

David is a highly established American photographer who has been exhibiting work since the 1980’s. He uses well known celebrities as subjects, and crowds the shot with surreal imagery, insane use of colour, overwhelming use of prop and composition and most importantly maintaining humour.

He brings an unmistakable element of fun and play to what would otherwise be a serious celebrity shoot. I especially love his portraits of Elton John; How he brings in print from its original source with plastic cheetahs and stretches it back onto the piano, The strong vibrancy of the cherries topped with flying bananas say something of sex in the homosexual genre. The shot seems to be caught in a moment of free fall with the piano either sinking into the floor or beginning to take flight with Elton, riding it in a state of ecstasy, brilliant. The second portrait of Elton reminds me somewhat of Matin Parr’s beach series, placing Elton in typical working class holiday scene. The woman’s fluorescent pink skin behind him paired with the large inflatable dolphin speaks a lot of modern society and the gormless and intrusive dog steps towards the audience, not far from resembling Elton himself.

The Works above are pages from David’s most recent publishings “Lost and Found pt.1” and “Good News pt.2”. His style continues to overwhelm and intrigue with the loose use of historical styling and religious iconography; A nude man in a thorn crown raising a white flag, Jesus showing surrender? placed next to four digitally composed commercial jets, free falling in a plume of white smoke, beautiful and simultaneously tragic. a message of the destruction to the planet that comes from air-travel, or a comment/tribute to the many tragedies that have come from failed/crashing jets in an aesthetic that feels ethereal. A crowded neon bathroom stall with party-goers passed out on the floor, behind them the late Michael Jackson with wings standing on what seems to be a satanic figure with red skin and horns, the graffiti spelling “life, stay brave, forgive, soul”, an image of what appears to be a younger version of Michael perched in front wearing his crown of pop. A crowded luminous image of Nicki Minaj riding a motorcycle is an interesting use of composition with a large imposed male blue hand pointing directly at her breasts, which is then mirrored with a nude glamour girl with her breasts, eyes and lower area blacked out with a modesty banner. Questioning the use of the female form within media and the legislations along with it. The hand brings a sense of male speculation and control into the image. The most interesting of the four, A flooded art gallery, containing the works of the modern artists Jeff Koons and Damien Hirst, and strangely the “body worlds” exhibition in London. The walls of the exhibition have been broken and depleted, Hirst’s shark tank and basket ball have been smashed and drained perhaps this is the reason for the flooding? Is this a comment on the modern art world and the necessary destruction of it? or a dystopian comment of art stranded after a natural disaster? or the pointlessness of art in the worlds demise. Theres also something to be said in this image with the Louis Vuitton bags under the flooded water. I think this comments on the wasteful consumption and ultimately empty value of luxury items; Making a comment on the work of both famous artist’s, rendering their pieces as merely materiel objects for commercial consumption.

http://home.davidlachapelle.com/