PREY
'Negative stimuli do not only evoke fear or disgust but can also evoke a state of 'morbid fascination' which is an urge to approach and explore a negative stimulus.' (Oosterwijk, et al. 2016). This atavistic nature of morbid fascination is the basis for my study within this current project. Why do people share a fascination with gruesome killings and violence? Serial Killers such as Ted Bundy and BTK (Dennis Rader) amassed substantial media as well as modern documentaries and cinematic depictions based on their gruesome crimes. This project focuses on forming a fictional narrative based on morbid fascination through a series of cinematic, hyper-realistic paintings.
^Figure 1: 'Prey', 2020, Oil on Canvas, 0.9 x 1.4m
Notorious serial killer Ted Bundy confessed to 30 homicides in the ’70s and was a major inspiration for this project due to the nature of his crimes in comparison to his perceived persona. Serial killers stereotypically have some form of childhood trauma, lack empathy and emotion, and fail to hold stable relationships as a result of these. Bundy, however, was able to hold many relationships and was described as being handsome and charismatic. It is this 'normality' which I care to exploit in my work through depicting an otherwise ordinary, everyday scene such as a simple bedroom.
'This sense of the morbid is part of the human soul. . . . I believe it belongs to this morbid sphere, the dimension which makes you feel repulsion . . . whilst being attracted to it at the same time.' (Binik, 2019). Contemporary society focuses on mass murder and extreme violence, with instances such as the Christchurch Shootings in New Zealand. The live stream video of the attack went viral within minutes, amassing over 4000 views before Facebook removed it. This demonstrates how modern media provides a platform for morbid fascination, with a subtle shift from serial killers in the ’70s to mass murder and horrific violence in modern society.
^Figure 2: Jonathan Wateridge, Another Place, (2010) [Oil on Canvas], 3 x 4 m, London: All Visual Arts
^Figure 3: Justin Mortimer, Dossier, (2011), [Oil on Canvas], 60 x 60 cm
Jonathan Wateridge has been a large influence in this project due to his hyper-realistic, cinematic paintings. His series, Another Place (Wateridge, 2010) (fig 2), represents scenes within a film, created from the artists' imagination, assembled through sets. I created a cinematic narrative and set for my paintings in a similar way. Justin Mortimer influenced the morbid aspects of the paintings, particularly through his piece Dossier (Mortimer, 2011) (fig 3) in which a simplistic still life suggests a sinister narrative.
My paintings sublimate the atavistic voyeurism instilled in the audience, whilst the ambiguity encourages them to question the 'normality' of the scene and how a killer may not always show psychopathic traits. Creating a hyper-realistic painting emphasises the forensic painterly process. Studying each element in detail follows the process a detective may take when forensically investigating a scene. Maintaining the clarity in the immersive image forces the viewer to see everything in crisp detail, compared to the average person's sight blurring the peripheral vision.
Although conducting the photoshoot for the reference image was somewhat planned, a large amount of the elements on the table in particular were picked and arranged at the time of shooting. This thus creates a natural, claustrophobic composition enabling the eye to dodge around at the various elements. The narrative is left open for the audiences' interpretations with scattered objects acting as suggestive focal points.
^Figure 4: Photographic reference
I conducted a series of experiments (fig 5-10) prior to starting the final painting which enabled me to help perfect the colour palette needed for different elements within the painting. I decided to focus on separate focal points within the entire composition taken from an alternative perspective. This, therefore, gives the audience the impression of a live scene with moving elements, whilst also revealing previously hidden or obscure details.
^Figures 5-10: Oil experiments with still life studies. These helped judge the techniques and colour tones needed for the objects and textures.
Why a painting, and not a photographic exhibition? Painting, as said by Wateridge, is ironically ' . . . one of the least effective ways of reflecting the now. It's slow; it's very old; it takes a long time to do.' (Amirsadeghi et al., 2018), implying that painting represents a memory rather than a live event which is essentially what I am trying to capture. Paintings can provoke a sense of the uncanny and surprising, often manipulating the audience. Questioning the trust in their vision, as to whether they are viewing a painting or a photograph, is something I strive for, the impact is more influential.
^Painting progress and hours