Inspiration; Sam Worthington – ‘The Operating table of Colour Doomed

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All photo Credits to Sam Worthington, Colour Doomed.©

After having a discussion with Sam today about my work, and the bio-mechanical aesthetic it has, he stated that that was what he was interested in during his time at University. We discussed Trans-humanism, as well as the nature of man and machine and the possibility that we will eventually merge as one entity. Then, he directed me to a work he had created in the past; ‘The Operating Table of Colour Doomed’. Exploring the nature of human interaction and engineering in biology; as well as the notion of ‘Playing God’, The work serves to explore the idea of resurrecting a corpse through the use of mechanical pieces and technology. In my own work I am exploring the nature of echanical growth, from an evolutionary perspective. As well as the role of humanity in the mythos surrounding an ultimate being; as our evolution is pushing us to become a god, if we have not become one yet. The act of ‘playing God’ is often mentioned when a new and paradigm shifting treatment or medical operation is successfully completed; with one of the few mysteries we have not yet solved being the way to raise the dead. To cure death, and become more or less immortal, is an unbelievable concept; yet, we are drawing ever close to such a reality. The artist has utilised not only mechanical pieces, but paint and other artistic supplies as a means of aiding in this nigh impossible task. Drawing from the concept of ‘Artist-as-Shaman’, the work seeks to highlight the role of the artist as a being seemingly ‘removed’ from others in a society, as they are strange and culture changing entities. As well as the notion that they can utilise Art as a means of highlighting and healing problems within Society, or within the viewer. This is related to my work in my Dissertation, in which I explore the role of the artist in a world without god; exploring roles of the Artist as Healer, as well as how they also aid in expanding our consciousness and empathy. The ‘Corpse’ also holds a paintbrush in his hand, as if to suggest that this is the body of a deceased artist. Is such a dark and menacing ritual necessary? Do we require Artists in our society enough to partake in such godless and sacrilegious experiment? Some would argue against this thought, But I argue for it. Without Creativity, we shall wilt.

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