 |
| Front and back covers |
 |
| The monster progress! |
This is a joke about so called
progress. Progress in the modern, western sense of development and
economic expansion, progression of the human race ( new
hope/overpopulation) and the progression of thoughts in my head, that
inspire and drive me forward yet overwhelms me and consume me.
 | ||
| Woodford Halse a small Northampton village that my Dad and family live in.The fact there is a post card for such an
innocuous place makes me smile. :)
|
Oww! These thoughts are wonderfully
painful!
Its this, mad, seemingly direction less
progress, that fuels many sketchbooks, as they become mental dumping
grounds to the manically scatterbrain creative. Yet as random idea
bounces of random idea, real form develops and a dialogue of sorts
can start rising out of the murk.
The pages here have come about as I've
gone through old loose sketches and started cutting them out and
re-pasting them within the sketchbook. This process sheds new light
on old thoughts and arranges new juxtapositions.
The forlorn devil character came about
when thinking of the origins of the Lucifer's goat look. There are
many possible influences to the devils aesthetic, though a prominent
and long standing influence can be found in Pan. Pan was I wild deity
of Greek antiquity. A deity of music and fertility, famous for his
sexual powers.
So take the lovable, frisky rouge that
is Pan and overlay this with generations of Christian guilt. No
longer wild naked and free but clothed, shamed and passive. If you
want people to feel guilty, to stop having so much fun and gets some
work done then you make fun sin. The devil is the master of sin and
he has to be one evil, scary mother and you already have that well
known goat imagery...
Snap forward a couple of thousand years
and the devil/Pan is down on his luck. He still enjoys a drink but is
far from free. It seemed only fitting to marry this image with that
of a glossy fashion shot of London with the frivolous London eye,
amongst the grey financial austerity of a capital far removed from
nature.
Thus appeared this painting, via Greek
antiquity, Christian guilt and London vogue, oh and some Smiths lryics for the title:
 |
| Heavon knows Im miserable now |
No comments:
Post a Comment