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The Art of the Damned

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  The Art of the Damned The current gallery system functions as a modern dam built right at the headwaters of artistic creation. The headwaters are the raw, bubbling springs high in the mountains—wild, uncontainable, fed by countless small tributaries of individual vision, experimentation, failure, intuition, and obsession. This is where most serious art actually begins: in studios, bedrooms, sketchbooks, late-night arguments, personal crises, and private obsessions, long before any curator or collector ever hears a name. Once a handful of major galleries, institutions, auction houses, and their allied gatekeepers (collectors, critics, fair directors, residency programs) gain decisive influence over those headwaters—deciding which artists get early solo shows, which receive press, which enter the "right" conversations, which are anointed with blue-chip representation—they effectively place the dam. From that point forward: The flow of visibility, legitimacy, money, and audien...
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Head on

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Head on

Locked into a decollation of vision
Somewhere between dystopia and utopia
Of daunting scale and empowered ownership
For the futures of all inhabitants
Especially for those who are unable to prophetize

Through compassion and in hatred, paths are layed
Through rhetoric and within reality gaps, plans are devised
Crossroads are manufactured to include outputs of macabre scenarios
And these vivid horrors repetitively weave throughout our histories
Nothingness as sacred, nothingness as incidental

Our fabricated artilleries are lavished with discord
Of senseless killing and normalized clarification
These roadkills are cleansed though legitimate action
And our carnage is visualised through predictable datasets

Grieve is pushed aside
Knowing that the odds against are in favour
Contained within the numbers
That is digestible
To those in pain, those who ignore and those who can exploit





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