PREDATOR
The complexity of the criminal and psychopathic mind is something that has been a consistent interest of mine, with the inability to truly understand what drives a serial killer to commit murder. Although some stereotypical aspects can be used to categorise a killer such as surviving childhood trauma, lacking empathy, and the progression from hunting animals to humans, this cannot be used to evaluate all murderers. There are consistent anomalies to this overarching concept of the traits of a serial killer. You would assume that an individual who lacks empathy and the inability to sustain relationships with people, leading introverted lives are more likely to show the traits of a murderer. Ted Bundy and BTK (Dennis Rader), serial killers from the 70s, are prime examples of perpetrators who do not show the typical characteristics. Both men upheld intimate relationships, with Bundy being described as handsome and charismatic, and Rader fathering a child with his wife.
The façade of normality within the two men is what initially inspired my project. I intended to ask the audience to question their prior conceptions of serial killers, whilst focusing on the often-subconscious fascination into the morbid aspects of murder.
^Figure 1: 'Predator', 2020, Oil on Canvas, 0.9m x 1.4m
My preliminary research investigated the cases of serial killers such as Ted Bundy from the 70s and the intent public interest with the case. Contemporary forms of morbid fascination, however, can be found within different types of killers. Luka Rocco Magnotta was a Canadian murderer, largely known for his association with the Netflix series 'Don’t F**k With Cats: Hunting an Internet Killer' (2019). This case is a prime example of how modern technology and social media have the ability to fuel a killer’s needs, whilst extorting the morbid fascination of the wider general public. Deanna Thompson (an internet sleuth on the case) concluded: ‘Did we feed his narcissism to the point where he had to go forward? . . . Did we feed the monster or did we create it? And you, you at home watching a whole fucking documentary about Luka Magnotta, are you complicit?’ (Don't F**k With Cats: Hunting an Internet Killer, 2019).
Interpersonal homicides are often premeditated and can be categorised based on the type of family/partner or intimate relationship between the perpetrator and the victim. Polarisation exists within homicides in the sex of the victim and the perpetrator. Although 79% of all homicide victims globally are male, with organised crime and gang violence accounting for a large proportion of this, women are more vulnerable and at-risk from interpersonal homicides relating to intimate family and partner relationships. Two-thirds of partner/family victims globally are female (43,600 in 2012) and one-third male (20,000) (United Nations Office on Drugs and Crime, 2013). Choosing, therefore, to portray a female victim with a male perpetrator not only fits the statistic stereotype of this homicide typology but questions this gender bias toward female victims.
^ Figure 2: Sam Taylor-Johnson, Still Life, (2001), Video stills
> Figure 3: Balthus, Thérèse Dreaming, (1938), Oil on Canvas, The Met Fifth Avenue: New York
Sam Taylor-Johnson contextualises the contemporary filmic aspect of my paintings in a similar way to that of Wateridge’s artworks. They manipulate time through the use of film such as in the time-lapse 'Still Life' (Taylor-Johnson, 2001) (fig. 2). The Caravaggio-esque bowl of fruit decays in a matter of minutes. This piece, therefore, represents the passage of time through an otherwise static composition. My paintings instil a sense of movement within a stationary, static image, however, unlike Taylor-Johnson's moving images, certain objects (such as the position of the glasses) and the miniature artefact paintings represent the sense of time and movement within my work. Lucy Mckenzie’s paintings in the Levinsky Gallery’s show Slow Painting (2020) also ‘cryptically collapse[s] time while remaining seeded with clues.’ through her conversation pieces (fig. 4) (Herbert, Judah, 2020).
Balthus (1908-2001) (fig. 3) was a large inspiration due to his ability to create both alluring and disturbing pieces of work through the Renaissance quality of painting portraying the discomforting facts of child sexuality. Although my artworks do not contain any erotic intentions, the discomforting blend of alluring and disturbing is something I aspired to achieve. The portrayal of domestic, familiar settings with easily recognisable objects such as the common blue mug form an oxymoron to the disturbing narrative.
^ Figure 4: Lucy Mckenzie, Quodiblet XI (Janette Murray), (2011), Oil on Canvas, Levinsky Gallery: Plymouth
^Figure 5: Painting process of 'Predator' shows size reference of the painting.
^Figure 6: Photographic reference
'Predator' (2020) conveys a contrast to the claustrophobic composition of 'Prey' with the minimalist, sterile environment presented. The preciseness of the placement of each object is unsettling, as though the perpetrator has meticulously placed each element with care. Throughout 'Prey' Vandyke Brown was used as the base colour for all shadows creating a warm tone, however in 'Predator' Raw Umber was used as a replacement to create a contrasting cool tone to the piece, in keeping with the sterile presentation. Although the composition is vastly different to 'Prey' certain objects such as the glasses and gold ring and colours such as the vibrant yellow material in the box can be related to it. The box with the same signature engraved in the lid conveys his need to collect trophies, glorifying his victims, whilst the ambiguity of the Polaroids and the framed photograph suggests possible means of motive and victim type. The killer chronicles his crimes, with the need to relive them suggested through the inspection and want to feel the victim’s perspective through the glasses.
^Figures 7-12: Oil experiments with still life studies. These helped judge the techniques and colour tones needed for the objects and textures.
The 7x5inch snippets (fig. 7-12) of the larger compositions offer alternative angles and insights into the overarching narrative. Similarly, to Mckenzie’s paintings, this collection of photograph sized paintings contorts the sense of time. The alternate angles and movement of some of the objects such as the glasses form a sense of movement, insinuating that time has passed. These pieces largely correlate to the detective aspect within my work due to the documentation aspect they capture. Forensic analysis of a true-crime scene would involve photographs being taken of the individual pieces of evidence. The small Artefact paintings, therefore, form similar importance to the audience when deducing the narrative. Although initially formed as experimental practices with tone (and continued to be so) they became a vital addition to the presentation of my work when wanting to convey the detective aspect of my work. Prey, Predator and the Artefacts combined, fuel the overarching concept of morbid fascination placed within a contemporary context through the audience being a voyeur in the narrative of an ambiguous serial killer.
^Painting progress and hours