I've always found anti-social imagery compelling. It challenges ones common sense; a persons sense of decency and their idea of "Good & Evil".
It also can adversely reaffirm ones core instinctual concept of right and wrong and, if you are so inclined, bolster a persons "Fuck You" attitude about the world around them. So in this regard such "taboo" subjects prove to be different masters for different servants.
I find the hazy margin of ambiguousness an image commonly held as offensive exists in fascinating. How is it that one image is acceptable to one person while it causes another to shrink in terror or sneer in disgust? Inside this line in the sand so to speak are the real questions.A question that cuts to the core of the subject matter itself. What is right and what is wrong? If there is such a thing why can't everyone agree what it is in the first place? And more over an even deeper question arises from that as well. If we are merely animals then wouldn't the horrendous nature of such a dark symbology just be an extension of our core instinct to annihilate what ever gets in out way?
Finally where do you fall INSIDE the line of demarcation ? This taboo no mans land?
While I obviously Cringe at the idea of romanticizing Nazism in any form and just so I'm clear I don't feel the manner in which this painting was conceived does that by the way, what is it about this painting that identify with and even like? Why would I chose to spend my time painting such negativity into the world?
Perhaps it's my desire to be left alone by most people? Nothing in the world could possibly top this as a way of letting people know to stay the hell away from you. Still I feel the composition grasps on to a certain charm as rotten as the core may be.
My painting is drawn in a style indicative of 80's tattooing A period of time I view as more cut and dry compared to today's blurred line of reality and fantasy. Of real and unreal. Of scripted reality Vs. cold harsh brutal reality.Of black and white (no pun intended).
Happiness and "feeling good" is what our society is based upon here in the West after all. This belief sprung from the 1960's, flourished in the 70's, matured in the 80's and 90's. And now at the start of a new decade in a new millennium the cracks have begun to form at the base of this structure from the shear weight of all of its moral and social entitlements. And of its own grotesque vices as well....I'm Left to ponder: what are the consequence of this way of life both good and bad going to be for us all?
I feel I made this painting because I just felt like adding a few more needles to Joe camel's back so to speak. Not for some kind of pro-nationalist statement or an affirmation of some kind of bloated illogical racial idea but because I felt like saying fuck this easygoing softness in us. I want the viewer to reaffirm their commitments. I want them to think past the fleeting pathetic pre-programmed plastic knee jerk television has drummed into them. I want the viewer to connect to the painting in a manner that causes either anger and resentment or praise and adoration. And ultimately I want the viewer to emerge from the moral no man's land that so many in today's world apathetically wonder through recommitted. I want battle lines to be draw so we can bring last centuries tired arguments and the beginning of this centuries short comings and false promises to a close.
In essence I want the house of cards to fall.
-Murray
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