In the image below we see The Scream, by the Norwegian artist Edvard Munch we see a boiling sky, aflame with yellow, orange and red, an androgynous figure stands upon a bridge. Wearing a sinuous blue coat, which appears to flow, surreally, into a torrent of aqua, indigo and ultramarine behind him, he holds up two elongated hands on either side of his hairless, skull-like head. His eyes wide with shock, he unleashes a bloodcurdling shriek. Despite distant vestiges of normality – two figures upon the bridge, a boat on the fjord – everything is suffused with a sense of primal, overwhelming horror.
An entry in Munch’s diary, dated 22 January 1892, recorded the inspiration for The Scream: “I was walking along the road with two friends – the sun went down – I felt a gust of melancholy – suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death – as the flaming skies hung like blood and sword over the blue-black fjord and the city – my friends went on – I stood there trembling with anxiety – and I felt a vast infinite scream through nature.”
Could using my own experiences when seeing the effects of pesticide abuse and the feelings of others help alleviate my works power? My allowing the public an insight to my personal thoughts as an image maker I will be not only subjectively directing their thought process to my work but it will allow an emotive connective with my work that people may not receive if they aren’t passionate about wildlife conservation. By personifying my images meaning I’m allowing dictation of thought but still with the underlying process of ambiguous meaning. This could be created by spoken or written word throughout an exhibition or more simply a brief but direct artists statement provided with the exhibition handout.
Below we see another reimagined image created by an unknown artist he has shown very visually the disparity and pain caused my earth pollution. Sticking to the original colour palette has played well with the image due to orange and red hues associated with urban pollution. Using the technique of Munch with this almost liquid state to the image the artist has allowed the technique to shape his own piece simply titled ‘The Scream Oil Spill’.
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