Ancient Subterfuge Collection
An Ancient Subterfuge: Subterfuge = conspiracy
A conspiracy of silence — is an agreement to say nothing about an issue that should be generally known. “Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression.”
Art forms give humans a higher satisfaction in emotional release than simply managing emotions on their own. Art allows people to have a cathartic release of pent-up emotions either by creating work or by witnessing and pseudo-experiencing what they see in front of them. Instead of being passive recipients of actions and images, art is intended for people to challenge themselves and work through the emotions they see presented in the artistic message.
I have this vision about my theme, that I would combine a few well known conspiracies and convert it into art with the help of 7 Ancient Greek statues. The representation of each statue will tie in with each specific conspiracy, but with a few changes.
I need the observer to look at my work and not judge it right away for each component has a meaning. Every piece is a metaphor linking towards the Bible.
I am a firm believer in the Bible and wanted to explore some untouched subjects that no artist has yet done – the theory of the Flat Earth as spoken about in the Bible.
When one observes my work with the knowledge and background information of each conspiracy of which my art will touch upon, one will either critique the work in a negative way of one might agree with the conspiracy. None the less, no matter what one believes, the truth thou seek one will find in the artwork depending on what thine own persuasions are.
Different reactions will be unleashed by these subjects, and you will hear some people laugh over the subject, some might fear the subject if they believe in the conspiracy and what it predicts for the future as said in the Bible or some might only state their personal commentary towards the artwork – in each case (it may differ) you must listen to them while you observe the silent message you want to see out of the art. It will help you understand the emotional link between society’s beliefs and criticisms towards the Christians who philosophize about religion.
Some people will taste bitterness in their mouth for they do not like the subject being touched upon and some might taste the sweet satisfaction towards the artwork because they believe in the subterfuge and appreciate the combination of the old stories and the modern leaked conspiracies.
Much like Leonardo da Vinci, religion can be linked with the stories of the past to convey a powerful message to the present.
PRACTICAL REFLECTION (PAINTING 7) - rituals
The Ancient Subterfuge refers to Ancient Greek sculptures taken and brought to life with acrylic paint, material and graphite pencils on 84,5cm x 118,5cm board. The sculpture is carefully chosen to represent and capture the theme as a whole, embodying each technique and style used throughout the series of seven paintings, the seventh (the holy number of the Christian faith) presenting all paintings of the series through ritual symbolism of Roman Catholicism to convey the overall message.
This Hellenistic sculpture is a mixture of Realism and Impressionism inspired by the specific styles of Claude Monet and Leonardo Da Vinci.
The sculpture is a graceful image of St. Ignatius of Loyola. Roman Catholicism ritual symbols of confession is pasted onto the book St. Ignatius is holding embedded with the Latin words, "Ut Perirent (to execute) a dominante (by dominance) per istas (through Ritual)". These words combine the Ancient Subterfuge theme beautifully for it metaphorically states that the subterfuge is that of the Christian faith being executed through the dominance the Catholic Church has over the scriptures which they spread by teaching that their rituals are the correct way of believing.
The Catholic symbol of Chi Rho with Alpha and Omega encircle the neck of St Ignatius, meaning the Church wants their belief to be the beginning and the end of belief. With no proof this conspiracy is true, it stays but a conspiracy - yet nonetheless, it encapsulates the mind to look further and think and philosophy.
The Ancient Subterfuge refers to Ancient Greek sculptures taken and brought to life with acrylic paint, material and graphite pencils on 84,5cm x 118,5cm board. The sculpture is carefully chosen to represent and capture the theme as a whole, embodying each technique and style used throughout the series of seven paintings, the seventh (the holy number of the Christian faith) presenting all paintings of the series through ritual symbolism of Roman Catholicism to convey the overall message.
This Hellenistic sculpture is a mixture of Realism and Impressionism inspired by the specific styles of Claude Monet and Leonardo Da Vinci.
The sculpture is a graceful image of St. Ignatius of Loyola. Roman Catholicism ritual symbols of confession is pasted onto the book St. Ignatius is holding embedded with the Latin words, "Ut Perirent (to execute) a dominante (by dominance) per istas (through Ritual)". These words combine the Ancient Subterfuge theme beautifully for it metaphorically states that the subterfuge is that of the Christian faith being executed through the dominance the Catholic Church has over the scriptures which they spread by teaching that their rituals are the correct way of believing.
The Catholic symbol of Chi Rho with Alpha and Omega encircle the neck of St Ignatius, meaning the Church wants their belief to be the beginning and the end of belief. With no proof this conspiracy is true, it stays but a conspiracy - yet nonetheless, it encapsulates the mind to look further and think and philosophy.
(PAINTING 5 & 6) - my theme and society
My theme vs society is against societies generally accepted beliefs to show the viewer of my art that there is more to life than just blindly believing and following world doctrine or not believing. My theme is a combination of how past societies thought and how the new society/Generations think. It is the modern vs. the past.
The fifth painting of this series is called "Atlas" where the Celestial Spheres held by the original sculpture is replaced with a flat earth model and being the intro to the fifth conspiracy and one of the most popular subterfuges. The titan Atlas, was responsible for bearing the weight of the heavens on his shoulders and in my depiction, he is holding the heavens but according per description in the book of Genesis - tying this painting directly with "Leda and the firmament"; having both being naked and tackling the rawness of this subject.
This Hellenistic sculpture is forming slowly from realistic description to colourfully distorted, clear brush strokes from the waist upwards. This represents how as soon as one acknowledge that there is more to learn and realize about the world and religions, your views concerning the fact will change and your thoughts will become distorted.
Painting six also bears the same influences of painting five. This painting is called, "Mary and the Serpent", which ties in with the fourth painting "La Piéta dei Cristiani". Though the difference is, while the old Virgin is holding Christ, this Virgin Mary is young and full of life and powerful, stepping onto the Serpent (representative of Lucifer in snake form).
As Adam and Eve came into this world and brought sin upon it, Mary and Jesus are of contrast by whom sin is defeated, believed in Roman Catholicism. If Adam named Eve because she was the mother of all living after death entered the world through sin, then Mary is the mother representation of all living after sin was conquered through victory - crushing the head of the Serpent in the painting. All the living - symbolic image of the earth Mary is balancing effortlessly upon.
My theme vs society is against societies generally accepted beliefs to show the viewer of my art that there is more to life than just blindly believing and following world doctrine or not believing. My theme is a combination of how past societies thought and how the new society/Generations think. It is the modern vs. the past.
The fifth painting of this series is called "Atlas" where the Celestial Spheres held by the original sculpture is replaced with a flat earth model and being the intro to the fifth conspiracy and one of the most popular subterfuges. The titan Atlas, was responsible for bearing the weight of the heavens on his shoulders and in my depiction, he is holding the heavens but according per description in the book of Genesis - tying this painting directly with "Leda and the firmament"; having both being naked and tackling the rawness of this subject.
This Hellenistic sculpture is forming slowly from realistic description to colourfully distorted, clear brush strokes from the waist upwards. This represents how as soon as one acknowledge that there is more to learn and realize about the world and religions, your views concerning the fact will change and your thoughts will become distorted.
Painting six also bears the same influences of painting five. This painting is called, "Mary and the Serpent", which ties in with the fourth painting "La Piéta dei Cristiani". Though the difference is, while the old Virgin is holding Christ, this Virgin Mary is young and full of life and powerful, stepping onto the Serpent (representative of Lucifer in snake form).
As Adam and Eve came into this world and brought sin upon it, Mary and Jesus are of contrast by whom sin is defeated, believed in Roman Catholicism. If Adam named Eve because she was the mother of all living after death entered the world through sin, then Mary is the mother representation of all living after sin was conquered through victory - crushing the head of the Serpent in the painting. All the living - symbolic image of the earth Mary is balancing effortlessly upon.
(PAINTING 5 & 6) - my theme and society
My theme vs society is against societies generally accepted beliefs to show the viewer of my art that there is more to life than just blindly believing and following world doctrine or not believing. My theme is a combination of how past societies thought and how the new society/Generations think. It is the modern vs. the past.
The fifth painting of this series is called "Atlas" where the Celestial Spheres held by the original sculpture is replaced with a flat earth model and being the intro to the fifth conspiracy and one of the most popular subterfuges. The titan Atlas, was responsible for bearing the weight of the heavens on his shoulders and in my depiction, he is holding the heavens but according per description in the book of Genesis - tying this painting directly with "Leda and the firmament"; having both being naked and tackling the rawness of this subject.
This Hellenistic sculpture is forming slowly from realistic description to colourfully distorted, clear brush strokes from the waist upwards. This represents how as soon as one acknowledge that there is more to learn and realize about the world and religions, your views concerning the fact will change and your thoughts will become distorted.
Painting six also bears the same influences of painting five. This painting is called, "Mary and the Serpent", which ties in with the fourth painting "La Piéta dei Cristiani". Though the difference is, while the old Virgin is holding Christ, this Virgin Mary is young and full of life and powerful, stepping onto the Serpent (representative of Lucifer in snake form).
As Adam and Eve came into this world and brought sin upon it, Mary and Jesus are of contrast by whom sin is defeated, believed in Roman Catholicism. If Adam named Eve because she was the mother of all living after death entered the world through sin, then Mary is the mother representation of all living after sin was conquered through victory - crushing the head of the Serpent in the painting. All the living - symbolic image of the earth Mary is balancing effortlessly upon.
My theme vs society is against societies generally accepted beliefs to show the viewer of my art that there is more to life than just blindly believing and following world doctrine or not believing. My theme is a combination of how past societies thought and how the new society/Generations think. It is the modern vs. the past.
The fifth painting of this series is called "Atlas" where the Celestial Spheres held by the original sculpture is replaced with a flat earth model and being the intro to the fifth conspiracy and one of the most popular subterfuges. The titan Atlas, was responsible for bearing the weight of the heavens on his shoulders and in my depiction, he is holding the heavens but according per description in the book of Genesis - tying this painting directly with "Leda and the firmament"; having both being naked and tackling the rawness of this subject.
This Hellenistic sculpture is forming slowly from realistic description to colourfully distorted, clear brush strokes from the waist upwards. This represents how as soon as one acknowledge that there is more to learn and realize about the world and religions, your views concerning the fact will change and your thoughts will become distorted.
Painting six also bears the same influences of painting five. This painting is called, "Mary and the Serpent", which ties in with the fourth painting "La Piéta dei Cristiani". Though the difference is, while the old Virgin is holding Christ, this Virgin Mary is young and full of life and powerful, stepping onto the Serpent (representative of Lucifer in snake form).
As Adam and Eve came into this world and brought sin upon it, Mary and Jesus are of contrast by whom sin is defeated, believed in Roman Catholicism. If Adam named Eve because she was the mother of all living after death entered the world through sin, then Mary is the mother representation of all living after sin was conquered through victory - crushing the head of the Serpent in the painting. All the living - symbolic image of the earth Mary is balancing effortlessly upon.
(PAINTING 3 & 4) - influences
Concerning the topic "influences", combined with the topic of ANCIENT SUBTERFUGE, means what conspiracies are influencing the public's views about certain topics and especially their religion/what they believe in.
The third painting in this series called, Leda and the Firmament, the actual sculpture is a depiction of a wife of Greek god Zeus holding a swan. The swan is replaced by Leda draping the Firmament across her naked body. Her nakedness is an indication of how raw this topic is for some people - believing the earth is a flat dome with the sky being a Firmament as spoken about in the Christian Bible in Genesis.
Literal cloth is stuck onto the canvas to give a prominent three-dimensional view and texture.
The fourth painting called, "La Pietà dei Cristiani", is Italian for "The pity of Christians". This refers to Christians being pitied for their belief in Jesus Christ, son of God, in the Christian faith and the new generation deliberately denying faith = nones.
Because the younger generation (in contrast to an older version of The Virgin Mary), is the Virgin Mary denying faith - "immaculation" disappears. The new generation is not pure anymore for the faith has been corrupted and is taught differently. This depiction of the Pietà is mainly the opposite of what Michelangelo intended the meaning of his sculpture should depict.
Concerning the topic "influences", combined with the topic of ANCIENT SUBTERFUGE, means what conspiracies are influencing the public's views about certain topics and especially their religion/what they believe in.
The third painting in this series called, Leda and the Firmament, the actual sculpture is a depiction of a wife of Greek god Zeus holding a swan. The swan is replaced by Leda draping the Firmament across her naked body. Her nakedness is an indication of how raw this topic is for some people - believing the earth is a flat dome with the sky being a Firmament as spoken about in the Christian Bible in Genesis.
Literal cloth is stuck onto the canvas to give a prominent three-dimensional view and texture.
The fourth painting called, "La Pietà dei Cristiani", is Italian for "The pity of Christians". This refers to Christians being pitied for their belief in Jesus Christ, son of God, in the Christian faith and the new generation deliberately denying faith = nones.
Because the younger generation (in contrast to an older version of The Virgin Mary), is the Virgin Mary denying faith - "immaculation" disappears. The new generation is not pure anymore for the faith has been corrupted and is taught differently. This depiction of the Pietà is mainly the opposite of what Michelangelo intended the meaning of his sculpture should depict.
(PAINTING 3 & 4) - influences
Concerning the topic "influences", combined with the topic of ANCIENT SUBTERFUGE, means what conspiracies are influencing the public's views about certain topics and especially their religion/what they believe in.
The third painting in this series called, Leda and the Firmament, the actual sculpture is a depiction of a wife of Greek god Zeus holding a swan. The swan is replaced by Leda draping the Firmament across her naked body. Her nakedness is an indication of how raw this topic is for some people - believing the earth is a flat dome with the sky being a Firmament as spoken about in the Christian Bible in Genesis.
Literal cloth is stuck onto the canvas to give a prominent three-dimensional view and texture.
The fourth painting called, "La Pietà dei Cristiani", is Italian for "The pity of Christians". This refers to Christians being pitied for their belief in Jesus Christ, son of God, in the Christian faith and the new generation deliberately denying faith = nones.
Because the younger generation (in contrast to an older version of The Virgin Mary), is the Virgin Mary denying faith - "immaculation" disappears. The new generation is not pure anymore for the faith has been corrupted and is taught differently. This depiction of the Pietà is mainly the opposite of what Michelangelo intended the meaning of his sculpture should depict.
Concerning the topic "influences", combined with the topic of ANCIENT SUBTERFUGE, means what conspiracies are influencing the public's views about certain topics and especially their religion/what they believe in.
The third painting in this series called, Leda and the Firmament, the actual sculpture is a depiction of a wife of Greek god Zeus holding a swan. The swan is replaced by Leda draping the Firmament across her naked body. Her nakedness is an indication of how raw this topic is for some people - believing the earth is a flat dome with the sky being a Firmament as spoken about in the Christian Bible in Genesis.
Literal cloth is stuck onto the canvas to give a prominent three-dimensional view and texture.
The fourth painting called, "La Pietà dei Cristiani", is Italian for "The pity of Christians". This refers to Christians being pitied for their belief in Jesus Christ, son of God, in the Christian faith and the new generation deliberately denying faith = nones.
Because the younger generation (in contrast to an older version of The Virgin Mary), is the Virgin Mary denying faith - "immaculation" disappears. The new generation is not pure anymore for the faith has been corrupted and is taught differently. This depiction of the Pietà is mainly the opposite of what Michelangelo intended the meaning of his sculpture should depict.
(PAINTING 1 & 2) - my identity
My identity is primarily defined by what I believe and what I believe in. This ties directly into my art and my religion. "My identity" can be universal to refer to everyone's identity to what they see conveyed through the canvas.
I have 2 paintings - the smallest two out of all seven paintings combined. Thus, I have 2 statues of ancient Greek times that ties in with a SUBTERFUGE (conspiracy) which will either be viewed true or false by the viewer of the painting - therefore my theme can be argued both ways, whichever the viewer prefer.
The first painting, called 'The Mooning Dicobolus', is a direct comparison between the Greek statue marbled by artist Myron and the conspiracy of regarding the Moon landing.
With natural acrylic colours used on canvas, this statue is brought to life with a tanned-brown combined with highlights and overthrown by a shadow/ghost Discobolus image drawn in white and black charcoal and embedded with white oil paint.
The second painting called, 'Revelation 4', refers to the text in the Christian Bible speaking about the beast with 3 heads: an eagle, an ox and a lion. The statue of Hades holding onto its guard hound, Cerberus, is replaced with the images of Revelation 4.
Like the first painting, this too had a ghost shadow overlay with charcoal and oils that indicates that these stories can be taken literally or figuratively - the viewers can choose which they identify with.
My identity is primarily defined by what I believe and what I believe in. This ties directly into my art and my religion. "My identity" can be universal to refer to everyone's identity to what they see conveyed through the canvas.
I have 2 paintings - the smallest two out of all seven paintings combined. Thus, I have 2 statues of ancient Greek times that ties in with a SUBTERFUGE (conspiracy) which will either be viewed true or false by the viewer of the painting - therefore my theme can be argued both ways, whichever the viewer prefer.
The first painting, called 'The Mooning Dicobolus', is a direct comparison between the Greek statue marbled by artist Myron and the conspiracy of regarding the Moon landing.
With natural acrylic colours used on canvas, this statue is brought to life with a tanned-brown combined with highlights and overthrown by a shadow/ghost Discobolus image drawn in white and black charcoal and embedded with white oil paint.
The second painting called, 'Revelation 4', refers to the text in the Christian Bible speaking about the beast with 3 heads: an eagle, an ox and a lion. The statue of Hades holding onto its guard hound, Cerberus, is replaced with the images of Revelation 4.
Like the first painting, this too had a ghost shadow overlay with charcoal and oils that indicates that these stories can be taken literally or figuratively - the viewers can choose which they identify with.
(PAINTING 1 & 2) - my identity
My identity is primarily defined by what I believe and what I believe in. This ties directly into my art and my religion. "My identity" can be universal to refer to everyone's identity to what they see conveyed through the canvas.
I have 2 paintings - the smallest two out of all seven paintings combined. Thus, I have 2 statues of ancient Greek times that ties in with a SUBTERFUGE (conspiracy) which will either be viewed true or false by the viewer of the painting - therefore my theme can be argued both ways, whichever the viewer prefer.
The first painting, called 'The Mooning Dicobolus', is a direct comparison between the Greek statue marbled by artist Myron and the conspiracy of regarding the Moon landing.
With natural acrylic colours used on canvas, this statue is brought to life with a tanned-brown combined with highlights and overthrown by a shadow/ghost Discobolus image drawn in white and black charcoal and embedded with white oil paint.
The second painting called, 'Revelation 4', refers to the text in the Christian Bible speaking about the beast with 3 heads: an eagle, an ox and a lion. The statue of Hades holding onto its guard hound, Cerberus, is replaced with the images of Revelation 4.
Like the first painting, this too had a ghost shadow overlay with charcoal and oils that indicates that these stories can be taken literally or figuratively - the viewers can choose which they identify with.
My identity is primarily defined by what I believe and what I believe in. This ties directly into my art and my religion. "My identity" can be universal to refer to everyone's identity to what they see conveyed through the canvas.
I have 2 paintings - the smallest two out of all seven paintings combined. Thus, I have 2 statues of ancient Greek times that ties in with a SUBTERFUGE (conspiracy) which will either be viewed true or false by the viewer of the painting - therefore my theme can be argued both ways, whichever the viewer prefer.
The first painting, called 'The Mooning Dicobolus', is a direct comparison between the Greek statue marbled by artist Myron and the conspiracy of regarding the Moon landing.
With natural acrylic colours used on canvas, this statue is brought to life with a tanned-brown combined with highlights and overthrown by a shadow/ghost Discobolus image drawn in white and black charcoal and embedded with white oil paint.
The second painting called, 'Revelation 4', refers to the text in the Christian Bible speaking about the beast with 3 heads: an eagle, an ox and a lion. The statue of Hades holding onto its guard hound, Cerberus, is replaced with the images of Revelation 4.
Like the first painting, this too had a ghost shadow overlay with charcoal and oils that indicates that these stories can be taken literally or figuratively - the viewers can choose which they identify with.