An exploration of corruption and the ways it manifests within the contemporary, A retrospective

Curatoratorial Rationale

The subject of corruption has been the central theme of my artmaking. The purpose of my overall body of work is to personify the nature of corruption and visualize the various ways it manifests within contemporary life; hence exploring its consequences. This conceptual exploration emerged from my observation of the international community; where I came to realize climate change and environmental degradation as a phenomenon prevalent within all contemporary societies; and a consequence perpetrated by humans. Eventually, this conceptual focus evolved into a more holistic interpretation of corruption’s existence within contemporary life, not just within the realm of environmental degradation, but also within our socio-ideological and economic systems. Upon further exploration, I discovered such intangible forms of corruption are often embedded within the human psyche. It is perhaps our gluttonous and self-serving nature that leads to the death and decay of identity, compassion, and morality as invariable consequences.

To enhance my aesthetic exploration, I was inspired by artists of the New Objectivity movement, such as Albert Birkle and Otto Dix - renowned for their ominous and macabre manipulation of imagery. Such styles are echoed within ‘Hedonism and I’ and appropriated work ‘Hedonism and We’ where the overall grayscale palette and hollowed construction of the subjects’ eyes and face(s) are representative of their inner emptiness due to their indifferent outlook; a concept which I consider to be a form of social corruption. Likewise, the palette used within ‘Drowning in Fear’ is symbolic of the subject’s loss of exuberance due to the corrupted thoughts which ravages her mind. My use of colour as a form of symbolism extends to ‘Just a little more’ and ‘Siren’, where sickly green and blue undertones, respectively, dominate the scene as a means of articulating the subjects’ greed; hence addressing an aspect of my central theme. Likewise, within ‘Our Madonna’, the hostile dynamic between mother nature and humanity is represented through the transition of warm to cool tones. The distorted effect of the ink within ‘Moral decay’ aims to embalm the essence of its apparent title.

In terms of tangible visual motifs, the repetition of the nightmarish hands within ‘Our Madonna’, ‘Drowning in Fear’, ‘Hostile Takeover’, ‘Inferno for Paradiso’ and ‘Marionette mastery’, is symbolic of corruption’s thirst and outreach for all things pure, innocent and tranquil. This is accentuated through the reaching and grappling motion of the hands within the aforementioned works; as well as the ensuing pain and suffering inflicted upon the victims’ being once in physical contact with the hands. Additionally, the feature of the blood motif within ‘Hostile Takeover’, ‘Inferno for Paradiso’, and ‘Siren’ is symbolic of corruption’s vicious nature. Furthermore, social corruption in the form of economic disparities within ‘Flea Market in Couture’ is represented through the pearls and extravagant clothing. Similarly, such symbols are repeated within ‘Just a little more’ to accentuate the subject’s greed and pursuit for perfection.

My exhibition was split into two sections. The first, section opened with ‘Our Madonna’ which articulated my core visual and conceptual elements of my overall body of work, such as the nightmarish hands and the tension between purity and corruption, respectively, to my audience. ‘Moral Decay’ is placed adjacent to the photographic series on scarlet red velvet curtains, as the folds of the curtain complements the bold lines within the Lino-prints. ‘Inferno for Paradiso’ is placed upon a plinth in front of the aforementioned works to bring the fictional depiction of the nightmarish hands within ‘Our Madonna’ to reality, hence accentuating the audience’s experience. This visual paring technique is also prevalent within the close juxtaposition of ‘Siren’ and ‘Hostile takeover’, both of which features blood and gore. ‘Siren’ was projected onto a rolled-out canvas to accentuate overall dramatic visual motifs.

The latter section of my exhibition opened with ‘Flea Market in Couture’ to reimagine different ways corruption manifests within contemporary life. ‘Hedonism and We’ and ‘Hedonism and I’ are placed opposite to each other to represent the scale of indifference within contemporary society, both collectively and individually. ‘Just a little more’ is placed between the aforementioned works as a supplementary exploration of corruption and the human condition. Finally, ‘Drowning in Fear’, and ‘Marionette Mastery’ is placed closely, to firstly complement the nightmarish hand motif, as well as animate the concept of control both on the two- and three-dimensional planes – echoes the juxtaposition of ‘Inferno for Paradiso’ and ‘Our Madonna’. I am able to further engage with the audience through the use of direct eye contact, hence breaking the fourth wall. This is evident within ‘Flea market in couture’ and ‘Siren’; where the subjects’ unbroken gaze at the audience creates a more severe experience.

The Exhibition

Our Madonna February 2018 Digital Photography & Photoshop 30x42cm

This work aims to visualize the death of mother nature (environmental degradation) as a form of contemporary corruption through the agency of humanity which is represented by the violent approach of the hellish hands. Subject’s semi-nude state signifies her vulnerability. Juxtaposition of rich warm hues with icy cool tones symbolizes the decaying effect of human intervention on mother nature’s former, untouched, state of grace.

Moral Decay May 2018 Block Ink on Coffee Stained Cartridge Paper 42x60cm

The purpose of this work is to depict the decay of morality, represented by religious iconographies, as a form of contemporary corruption. This is visualized through the blemished, decaying, consistency of the prints. Paper is stained to a similar effect to make the negative space an integral part of the overall withering visual narrative.

Inferno for Paradiso July 2019 Casted plaster & Found objects 97x28x75cm

Inspired by the outreaching hands at Wat Rong Khun temple, Thailand, this work aims to depict corruption as a creature of inferno (hell); hungry for the purity of humankind. The hellish nature of corruption is depicted through the extended arm surrounded by spikes at its site of emergence. Purity is animated by the porcelain white butterflies. The hostile relationship between the two is portrayed by the impaled butterfly.

Hostile Takeover April 2019 Casted plaster on Plastic Mannequins 22x22x32cm

This work's purpose is to imagine the violent nature of corruption. I was inspired by the pictorial maxim of 'The Three Wise Monkeys'; however, I have altered its related proverb "see, hear, speak no evil" into its opposite form. Violence and hostility are represented by wounds and blood. Corruption is embodied by the hellish hands. Staples represents corruption forcibly becoming an integral part of its victims' being.

Siren August 2019 Digital videography & I-movie (pig ethically sourced from a local food market)

Inspired by the deceitful mythology of Sirens, and the stilled videography style of film director Luca Guadagnino, this piece aims to personify the deceptive nature of corruption. This is depicted by the contrast between the warmth of the initial frame and the coolness of the supplementary pig imagery. The pig represents the subject's greed. (Fake) blood echoes the ferocious nature of her alter ego.

Flea market in couture June 2018 Digital Photography & Photoshop 30x42cm

This work aims to embody the concept of economic disparities (wealth divide) as a form of social corruption - a phenomenon prevalent within many contemporary societies. The juxtaposition of the subject's extravagance with the grime and disorder of the surrounding flea market setting is symbolic of the divide between the upper and lower echelons. Subject's stern facial expression represents her nonchalance towards this matter.

Hedonism and We August 2019 Tacky ink (etching) on Catrage Paper 30x42cm

This appropriation of Albert Birkle’s ‘Nächtliche Strasse’ aims to personify humankind’s indifference towards one another; as forms of social and emotional corruption. Birkle’s placement of the men and horses forces the viewer to interpret the subject matter as a singular unit; which in this context translates to humans being as egocentric as animals. Decay of compassion is depicted by the skulls above the crowd scene.

Just a little more June 2019 Digital Photography & Photoshop 30x42cm

The purpose of this work is to showcase how corruption can take the form of physical insecurities, resulting in cosmetic changes. Subject’s insecurities are signified by the trail of smudged eye make-up. Her yearning for perfection is shown through her extravagant fashion whilst undergoing medical procedures. Sickly green undertones are symbolic of her dissatisfaction. Her vain gaze is representative of her thirst for more.

Hedonism and I April 2019 Acrylic on canvas 15x15cm

Inspired by Oscar Wilde’s take on hedonism within his novel ‘The Picture of Dorian Gray’, this work aims to personify my personal experiences with hedonism as a form of emotional corruption. I find I put my wants and needs ahead of others; which I feel has changed my interpretation of my inner self. This is personified by the sickly and distorted construction of my face. Hollowed eyes and monochromatic palette represent my lack of compassion.

Marionette mastery August 2019 Casted plaster, Textiles & Found objects 30x42cm

The purpose of this work is to animate the absolute control corruption has over its victims once manifested. Control is represented by the tension of the strings between the contorted hellish hands and the subject below. Rough and cracked surface of the face is symbolic of its decrepit state as a result of the corruption's dominion over it. Hollowness of the cheeks further accentuates the subject’s gradual decay.

Drowning in Fear February 2018 Digital Photography & Photoshop 42x59cm

This work's purpose is to embalm the concept of drowning in fear as a form of mental corruption. This is represented by the hand’s placement upon the subject’s darkened headspace. Subject’s nude state and fetal positioning are symbolic of her vulnerability. Rippling waves charge the scene with movement to hyperbolize the subject’s inner turmoil. Monochromatic silver tones are representative of her loss of exuberance.