Showing posts with label death. Show all posts
Showing posts with label death. Show all posts

Monday, 11 November 2013

Remembrance Day - Lest We Forget


Wilfred Owen (1893-1918)
"Dulce et Decorum Est "

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! GAS! Quick, boys! -- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime . . .
Dim, through the misty panes and thick green light,
As under I green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues, --
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old lie: Dulce et decorum est
Pro patria mori.


Tuesday, 29 October 2013

Ferris Plock painting artist

Ferris Plock is a San Francisco based artist and some of his work is lovely. I'm fairly certain that some people would claim that his entire oeuvre is marvellous and they'd be correct... except for his paintings of big eyed female figures. C'mon man, this is done already! You are wasting your talent.

Where you really get to see Plock's mastery at work is in his appropriations of various culture forms to create a unsettling and insightful new composite whole. Take as an example, the painting below, where a garishly clad demonic samurai totes an equally garish AK47, converse trainers and a Daffy Duck furry suit, haunted by Elmer Fudd's spooky disembodied and betoothed head. What we see here is firstly, something I really like. This is a tremendous painting and is especially bright considering it is painted on ply. Secondly, we have a painting that draws heavily on the last 20 years of LowBrow and Pop Surrealism, while anchoring itself equally comfortably in the medieval past.


The image's unsettling nature is that we are programmed to respond to cartoon characters in a certain way. Part of it is in our upbringing and part of it is to do with our mammalian instincts; the reason that all 'cute good guy' cartoon characters have such large eyes/space around the eyes (see Mickey Mouse) is that we are hardwired to resond to them as if they were babies. To paraphrase, we can forgive Daffy being a bit of a dick because he is cute. Demonic samurai, not so much. We recognise their beady malevolence and aggressive posturing, the red of the skin so much like blood. But then, doesn't he have elaborate threads. I mean, that is a lot of silk and he has kept them sparklingly clean. And then he has eschewed his sword or mace for an AK47, the workhorse of third world hell holes everywhere.
The point I am laboring to make is that this is not an easy painting to pigeonhole and in fact the demon Daffy has shot the pigeon anyway, like the hunter he is (Fudd tells us that). This lack of ease and the beautifully balanced and well rendered use of tone and medium means that Plock's painting and the rest of his similar paintings speak to a viewer who likes challenges, reads about history, likes snazzy (if challenging) fashion choices and is probably into D&D. Nothing is new under the sun, but Plock has created a dischordant synthesis of old and new and challenges the viewer with humour and age old grey areas of humanity.

Wednesday, 9 October 2013

Death of... Matt Doust (and Perth is a Wonder of the World... almost)


After the death of Archibald prize finalist artist Matt Doust in LA last week* to an epileptic seizure, we are left with a void in the Perth art community. Doust was somewhat of a rockstar icon; a damaged and scruffy birdman with a surfeit of talent and almost totally unknown in Perth outside of other art aficionados. It makes me sad that a guy so young and well liked overseas is not being more venerated in the city that raised him. Venn Gallery is putting on a show in his honour this week and that is great but a bit more recognition while he was alive would've been good. I'm not talking about handshakes with the Lord Mayor Lisa Scaffidi, or a special show at Linton & Kay, I mean an interview on television, prime time, something that gets Doust and many other beautifully talented artists talked about by regular families. In a separate story, Perth has made it into the "Top 77 Cities" list according to Canadian-Swiss Bernard Weber, ahead of Melbourne, whose humble populace dubbed Perth as "Dullsville" a few years ago. Apparently this list is based on a net survey. Who knows, maybe the site that hosted it wasn't trendy enough for Melburnians.
The list is intended to be trimmed down to an eventual "7 Wonder Cities of the World"; the part that interests me, dear reader, is that next month the list will be trimmed dramatically to 28 cities. These will be cities like NY, London, Paris, Buenos Aires, Montreal, Beijing, etc. Ms Scaffidi, our aforementioned Lord Mayor, has asked Perth people to get in on it and vote "to help with tourism". Surely that isn't the point?
I would've thought the point was to get people in Perth thinking like they live in a wonder of the world. The same people who should be see seeing Doust and his ilk paraded on primetime television. It was the tourists who voted for Perth in the first place! Anyway, to climb on the bandwagon, you can vote here. Lets see if a city with only 1 major public funded art gallery can mix it with the big kids.

*Doust was only 29. What is it with this age that takes so many young talents away in the foreshadow of their best years? See Basquiat, Schiele, et al.