Saturday, 24 November 2012

Work from the (de)generation Y POV

An interesting look into the minds of (de)Generation Y, and how the world is perceived through the eyes of a young one. It's wonderfully easy to find issues of the class come alive in this piece: beautifully constructed in this digital artwork; darkened, to echo the hopelessness that many young people are faced with today, but with elements of hope that we refuse to let go of. 'Cause, dammit, we're rebels in the face of adversity, and we'll fix it yet.


The artist, one Hjalmar Wahlin of Stockholm, demonstrates the hierarchy of Western Europe: the corporations that ultimately hold all the power sitting above us, followed by a (seemingly) untouchable monarchy and state. The middle-class "with their wine and fancy glasses" (wonderfully put) look up lovingly at their royal family (a recent poll comes to mind with a large majority of the British middle-class naming Queen Elizabeth II as the person they most admire). Below them, the workers and labourers, with a small percentage moving up. And finally, tadpoles crawling over each other in some attempt to move up in life - perhaps, the competitive nature that is instilled in our younger generations at an early age, the out-for-myself spirit, that we feel is necessary to succeed in a drastically detached society?

The piece is aptly named Hierarchy of the Frogs, and to see more of Hjalmar's work just click.

Saturday, 17 November 2012

Brazilian Street Art

Nick Alive: a wonderfully talented Brazilian street artist.

But, wait, it gets better! If, by chance, you are unable to stroll down Nick's native streets, his work is available to view on his personal blog. (For more, get clicking).



Tuesday, 13 November 2012

Uninspired and Prozac Nation

I've been very bad.

I haven't posted anything for the two weeks, and I offer my sincerest apologies. I wish I could blame my blog coma on a raging cold or an ill-timed laptop crash, but it was purely and simply down to a lack of inspiration.

During this down time, I found myself thinking back to a book I read last year. So, I present to you: art on my mind! It's a memoir today.

Written in the early nineties, it is not the engaging prose or the attractive themes of addiction and depression that did it for me, but - dadada [my drumroll, don't ya just love it?!] - it was the lack of inspiration I was feeling that secured this memoir it's honour.

I present to you: Elizabeth Wurtzel's Prozac Nation: Young and Depressed in America.

Wurtzel's text details her experience growing up with depression, her drug abuse, feeling disconnected with the world, and being one of the first young people to be prescribed Prozac after FDA approval.

Some have found Wurtzel's narrative compelling, dark, a worthy depiction of a woman's depression. Some have found it "whiny" and "self-absorbed". But whatever you may find it, over these past two weeks of emptiness, feeling unmotivated, uninspired, at least I can say, Dammit! At least I feel better than that. It can't be all bad then, can it? After all, battling periods of emptiness and awful drafts of work is all part of the production of art and the life of an artist, so I guess this ties in quite nicely with thewonderwound.

Monday, 29 October 2012

It's about hope


Staring at the fucking wall.

It’s the same damn wall. Double layer of paint, the brush strokes obvious on the bump not sanded down quite right. A shitty attempt to cover where the rollers failed.

Just stare at the same damn wall again and again. Focus on. Focus on anything. The yellow. It’s yellow. Fill my mind with yellow. Push out all the memories, thoughts, obsessions revolving around, round and round, round and round, push them as far into my skull, away from the inside of me, to edge of my skin. Focus on anything to keep it at bay.

The door creaks, pushed open. She peers in. I turn my head, over my shoulder. A slight shake of the head. She double blinks, her little habit when she tries to smile a hopeful smile. Hopeful. It’s hopeful. It gives me a second of only seeing her, and no-one else. No words, faces, anything. Just her. She leaves with the little shake of my head. I go back to staring at the wall. Lying, wrapped in my duvet. I find the world cold. My legs tired, muscles ache.

The day is bright. It illuminates my room from the thin curtains, and the gap they have. Unclench my fists. Pain stabs through my hand. I didn’t even realise. Nail marks have become the lines that predetermine my future.

Roll out, literally, pushing the duvet away, rubbing my face into my pillow as I figure out how to work my legs, just trying to get out. Stumble to my window, sneak a peek through the gap in the curtains. It’s so damn bright. Leave them closed, fall back down onto my bed. Take in the piles that take up my space. Newspapers and magazines, neatly stacked, balanced, between the soft broadsheets and the thicker glossy paper, alternating, on my desk. Clothes, in hangers, folded over themselves, the metal wires tucked in so not to hurt the midnight wanderers. Bags, and books, so many books, and shoes, and lotions, and towels, neatly folded in pile on the desk chair.

There’s comfort in the small pathway the things provide. A little stability.

Take the path to the door. Hand on the cold knob. Twist.

Keep them shut. A little tighter. No glow from the natural light. Just a second of being in the same place. As soon as my eyes are open, I am away. Distanced from the stability behind me. It would be so easy to close the door again, hide back in my little world of piles and the same faces and thoughts that taunt me. Pick up a paper, and place it back down. Move the edges in, perfectly lined up with the rest of them.

People said it loads. Tried to understand, and make me understand. Nothing bad’ll happen if you don’t keep touching the edges, or, God hasn't based your destiny on whether the papers line up sweetie. For a while it turned to, She’s attention-seeking, whispered in the garden under my open window, and, She doesn't even keep doing it the same number of times... There’s nothing wrong with her.

There’s nothing wrong with me. I don’t do it seventeen times because that number has some recurrent theme in my life, or four times for the four of us in my family. I do it, continuously until the thought, whichever one it is that day, the face or words or memory, go out of my mind for one second, so I can let go, and hope – God, I hope – that with that little action of aligning whatever and ending that thought at the same time, that thought will be locked away and ended with the end of that action. It’s about hope. I do these things, and it’s become a habit, in some hope that one day the second of peace will extend onto the next action, and the next, so I can walk about and do my things without a clogging up of my mind, and an anxiety building because I cannot perform a coping mechanism.

There’s nothing wrong with me. It’s about hope. It’s a coping mechanism. Because without it, I’d go mad.

Tuesday, 23 October 2012

Art for Art's Sake

-as defined by 'The Penguin Dictionary of Literary Terms and Literary Theory' (4th ed.), J. A. Cuddon:

"The phrase connotes the idea that a work of art has an intrinsic value without didactic or moral purpose. This concept seems to have been first put forward by Lessing in ‘Laokoon’ (1766), and became something of an artistic battle-cry or slogan following the publication of Gautier’s Preface to ‘Mademoiselle de Maupin’ (1835). Throughout the 19th century it became a guiding principle for many writers. Oscar Wilde was one of its leading advocates."

Tuesday, 9 October 2012

The Last Day Of My Life - Part Three


...Six, five, four, three, two, one. Elena finally reaches the front of the queue and pays for her tea and a small slice of Victoria sponge cake, producing a worn note from her jacket pocket and passing it to a forgettable cashier. She stuffs the change back into her pocket, and manoeuvres her way through the round tables cramped into the light-filled canteen, raising her tray and swinging her handbag out of the way of chairs. She places the tray in front of me and sits.
I haven’t changed back into my jeans or polo shirt yet, unsure of whether I will be staying for post-op or observation. It is all quite blurry, but I feel confident that with a few hours my mind will be clearer. I look at my wife’s golden skin, darkened by a premature summer sun, freckled, marked with deep lines around the corners of her mouth and eyes. She does not look at me.
“Elena,” I say, half her name getting lost in what is meant to be a whisper, “I love you.”
I am happy, content, a little tired, but not in pain. Elena sips her tea, and crumbles off a bit of cake with her fingers, a nervous habit which often leads to food being torn apart but never eaten. She still does not look at me, but I see her lips move slightly, and she whispers, “Jay...”
She wants to say something, I can tell, but won’t, so I sit back in my chair somewhat disappointed, but never annoyed. I want to stretch myself, shrug off the tiredness, but am afraid of rupturing my stitches. So, I stay as still as possible, looking out the window at weak, baby trees planted in large pots, cluttering a small cobbled courtyard in between the canteen and an unknown doctor’s office.
A man sits on a small plastic garden chair squeezed between the plants. Dressed in black jeans and a black shirt, his pale face is turned up towards the sky, eyes closed, legs stretched, coat over his lap, and sneaky cigarette between his fingers which he keeps low, by the side of the chair. His lips move, no words that I can read, and he repositions himself while taking a drag. No-one stops him, and he, obviously, takes no regard of the ‘No Smoking’ signs stuck on the windows of the office behind him.
He checks a small silver pocket watch and shakes his long black hair away from his face. I leave observing the man who wears black on a sunny day, whose skin is as white as the clouds that are no-where to be seen, but still stretches his neck up towards the sun to get some rays pour down their goodness into his nicotine infested body. There is no need for me to read this man; he is nothing to me.
My wife finishes her tea, and leaves the empty cup with the plate of broken cake on the table, picks up her bag and pushes in her chair, slowly and deliberately. I follow suit, getting up, but not bothering to push my chair in. Elena leads the way, walking slowly through the tables, and I keep close behind. The hospital is still quiet past the swinging canteen doors. It feels strange, eerie, but the corridors are cool, and the white floors and ceiling and walls are calming, patterned with stripes of grey and blue.
We arrive back at the waiting area where I had left her hours before. The two occupants have gone, and no-one sits behind the reception desk. Elena sits down, placing her bag on the plastic seat next to her. I stand, looking around for signs of life. My search is quickly over as I hear the clicks of the nurses shoes down the passage way. She walks down, does not acknowledge me or my wife, and I am slow to stop her, as my brain does not register the nurse is actually my nurse, Jacqui, until she has made her way down to the swing doors.
“Jacqui,” I raise my voice a little, cautiously, aware that there is only silence in theses halls, and follow her.
She does not answer, so I quicken my pace, and call her name again. As my feet move faster, and my heart beat increases, I feel a sharp pain in my chest. I place my hand on my side as I continue to move. There is no blood. My stitches are fine. The pain returns as soon as soon as it goes, but my feet feel an urgent need to follow this woman, and my mouth to get her attention. I call louder, “Jacqui,” and it is met with a harder, deeper pain in my gut.
I stumble. At the same time another jolt hits me in my arm. I hit the ground, and the white floor turns black as I fall on my side. The floor is cold on my cheek. My lips move but nothing comes out. No name, no sound, no breath.
In the darkness, as I try to keep hold of any remaining oxygen I have taken in, I can hear a low mumbling, a slight buzzing, and my heart hammering, pleading to escape its jail. Someone is coming down the corridor. I am sure. Their voices are getting louder, clearer, and the buzzing is becoming, sounding, more and more like a rapid beeping.
Beep beep beep. It is almost louder than the voices, and I struggle to make out the words of my saviours as they walk down the corridor towards me, the man collapsed, on the floor, barely out of surgery.
I hear faintly, “Baker, Baker...”
Beep beep beep beep.
“Clear!”
Beep beep beep beep.
“Dr. Andrews!” Voice, female.
Beep beep beep.
Beep.
Beep.
Silence.
“Baker, call it.”
“...Time of death, two twenty-eight.”
They haven’t come to save me - there is someone else. Someone else, where are they? I didn't see them in the corridor. But they were here, so will someone notice me now? Take care to see there is another man lying on the ground that needs their help. I need their help. I need it.
I lie. On the ground. Feels like the operating table. Waiting, for someone to realise that I need saving. The silence flows through the corridors, the operating theatre, wherever I am. I listen closely. There are no voices, no sounds of buzzing or beeping, and no heart attempting an escape.
***
Time is a stranger. I cannot count the seconds, so no new minutes arrive. My brain is not working, and neither are my senses. I cannot feel my heart thumping, or register my chest going up and down, up and down, as I try to calm myself and wait. The operating table keeps getting colder, and the room seems to be getting darker. I can tell, even though I cannot see anything.
I’m not dead, as no-one has tried to save me. I have not seen my life flash before my eyes, or a bright white light with reassuring figures guiding me towards it. No deep Godly voice calling me, or demanding justification for my sins. No fire to cleanse my soul and no cloaked figure with a reaper. Although I cannot see or hear, or feel my heart beating, I can feel everything around me, and am aware of myself. It is dark; the lights have been switched off. It is cold; the warmth of my life is escaping me as I try to hold on, waiting for someone to notice.