Grimace: an exhibition of new work by Boz Mugabe & Paul McCarroll

! "Grimace" is an exhibition of work from two artists, Boz Mugabe (Dublin) and Paul McCarroll (Bangor, NI), whose styles are remarkably different and yet embody the tone of the Modern Gothic style. As opposed to Gothic - or Dark Art - Modern Gothic is more overtly reactionary and antisocial in the literal sense; the artwork exhibited makes commentary on current issues, contemporary polemic and does so while reveling in the fantastic and the grotesque. It is a style rooted in the macabre that arguably began with Goya (1746-1828), and experienced great popularity in the 90's within the punk movement and is achieving a revival now with the social unrest and upheaval of contemporary culture. Within a society of high unemployment, exposed corruption within governing bodies, and in a global context the threat of terrorism, it's no wonder that Modern Gothic is thriving as a visceral means to express anarchy. There are certain core similarities between Boz and McCarroll's work as they create in this style, such as Spiritualism and Religion and what it can mean both to the figures in the work and to an observer of the work; subtle social ironies; and lastly, minuscule attention to detail to enhance the impact of the imagined creatures or forms within the work. The works in "Grimace" express emotions and ideas that must be gleaned after the impact of the first impression, and it would be a mistake to assume that it is horror for horror's sake.

! Both artists amalgamate the fantastic with the familiar which gives the works an unsettling point of reference in a recognisable ordinary, from which each artist pushes into the realm of imagination. The works have their fundamental source in organic matter which is then manipulated according to each artist's purpose. Boz' forms have distinctive elemental, plant and amphibious references, with tendrils or tentacles emerging from creatures with hair, teeth and claws, merging various animal and humanoid characteristics unexpectedly. They can also sprout flowers and give birth to vegetable matter, have webbed extremities and appear to have another creature altogether growing from an unexpected body part.

They are very much part of the landscape they inhabit, when one exists around them, which is harsh, unforgiving and violent. Fire features with some frequency in Boz' work, as an element that possesses the power to cleanse, as a use in ritual, and as a part of the anatomy. The impression of fierceness and violence is equated with the survival instinct that must be essential for living in such a world. McCarroll's monochrome works show a depth of anatomical research that is combined with the artist's interpretive use of body horror; these are monstrous creatures of organic origin whose innards are often in contrast to their exterior. The skeletal structure may indicate a dry atmosphere and yet a humidity is evident through dripping moisture and the suggestion of advance decay is countered with bodily fluids - everywhere there is juxtaposition to question the stability of the context within the natural world. Both artists introduce symbols of religion or spirituality of some kind, either overtly or hidden amongst detail, and attention payed to the titles of the pieces will indicate interest in Eastern and Western religions. McCarroll reacts strongly to Christian doctrines in the negative, an opinion that has emerged from living in Northern Ireland through the Troubles, and expresses the hurt and pain that can emerge from organised religion. Boz expresses a more non-specific spirituality that is based in Eastern cultures but is not particular to one religion. The rituals performed and deities worshipped indicate a primitive spirituality in their context of an unforgiving and barren landscape - with temples and architecture evident in places, but not used directly in worship - and the creatures' minimalist approach to civilisation in dress and cultivation of their environment all amount to an early period of existence. The deities these beings worship appear to them in physical form, and they are clearly to be feared. These unforgiving gods have uncanny resemblance to their flock, and despite having the ability to levitate in clouds it may be imagined the difference ends there. The anatomy of the creatures in Boz' works is an interesting visual landscape of symbolism in itself. The total freedom

“Grimace”An Exhibition of New Work by Boz Mugabe & Paul McCarroll

written by Alexa MacDermot (Curator, White Lady Art)

that comes with allowing inter-organism beings to live in the landscape is appealing on an aesthetic level, but another aspect of this emerges when chute-like anatomical protrusions appear, that look much like each other in form but function in different ways when applied to the top or bottom of a creature. It can be used to expel excrement or fire, or be upward facing as though for respiration. Truly, it is a multi-use extremity. Less basic in their physical necessity, the curious placing of eyes within the body may offer a more observation comment on human nature, as they can be found in the head, stomach and genital area, perhaps to indicate where the moment of intention begins an act. An interesting example of this is in the piece "Flytrap", as the feminine-looking creature blindly waits her victim with a large eye placed around her stomach.

! The question is raised in both artist's works of where dependence and independence from assumed and accumulated thought patterns are evident, whether born out of shared religious beliefs or a more insular and instinctive belief system. This is subtly expressed as the more subversive subject matter must be absorbed before the nuances become clear, simply because the works will be seen within a Western context. The overt anti-religious images in McCarroll's work that are shocking and abrupt are in contrast with the works which appear to be more conceptual and less defined. Worm-like creatures that might be deep oceanic monsters emerge from dark places, sightless and amorphic but formidable. They are monsters of the deep that have never seen daylight or a human, part of a dark world that only they know how to survive in; even though these creatures seem diseased or malformed they do not appear to be dying. It lends a survivalist edge to the creature whose skin is split but glares out with one eye in a silent challenge. The texture created from charcoal and pastel is sinewy, realistic, tangible and organic; despite the surrealism of the creatures and close-ups of unidentifiable tissues, they are undoubtedly based in research and examination of these matters. The porous bones, stretched muscle and sinew all correspond to the anatomical foundation of organic matter, just reinterpreted as having their own identity outside of a clean and clear consciousness by inhabiting a body or figure. They remain headless and eyeless without identity in its clearest sense, but live by themselves without seeming to need anything more. It is a fierce kind of independence from a single source of consciousness, where all the details amount to one living organism. Boz carefully depicts many tetraskellions in

his works, which to a Western audience without prior knowledge of the many variations of this symbol, may draw the conclusion that he is drawing swastikas. As many of the titles in Boz' works indicate knowledge of Eastern beliefs and practices, and the consistent exploration of depicting a people who value spirituality and ritual in their daily life, the use of this symbol in its variations is not a shock tactic but a broadening of an already existing motif. Obviously its inclusion and display to a Western audience is antagonistic but more importantly it creates an opportunity for discussion about what one group accepts as a peaceful symbol, and another a violent one, and what that means to the whole. McCarroll does the same thing with Christian symbols and imagery, and the overall reception of this concept is to favor the individual thinker over the group mindset. Divination through ritual, and the image of a comet feature in Boz' works that call attention to the concept of astrology and its place in the primitive culture he is depicting, but also its relevance in today's society. It is a belief system that has sunk in popularity as a definitive guide to current and future actions in Western society, but it is an interesting point to consider that there is something rooted and fundamental in human nature that makes the idea of the manipulation of the future still attractive, although the temptation may be to scorn the practice itself. While the opinion of each artist regarding organized religion or primitive behaviour is expressed with varying degrees of emphasis, the answer is undoubtedly left for the observer to arrive at by themselves.

! There is a coldness and stillness in McCarroll's work that is in satisfying opposition to the heat and animation of Boz' works. They express in different ways and methods - and are also important conduits for - the anger and disassociation felt today by everyone towards those in power. They are important because they comment on social issues with humour, irony, and anger. The unapologetic horror or unpleasant graphic nature shout its meaning out at the viewer. It is very antagonistic and reactionary which is art at its most volatile. Boz holds a mirror up to society and its beliefs, while McCarroll looses patience and smashes it over its head.

"There's been a shift from the big picture to the little one, from the cultural to the sub-cultural, the outer world to the inner one. Cults are more absorbing to artists than society; optimism has turned into skepticism. But things aren't black and white. Although many claim it's dead, irony thrives. Indeed, almost all art that could be called Gothic has an ironic edge: It's aware of its position, even the absurdity of its position, yet it persists with sincere tongue in ironical cheek. Artists are using images and symbols in ways that attempt to short-circuit the sense that things are controlled from without; they're trying to make them more expression-controlled and are investigating smaller systems of making meaning."

- Jerry Saltz, "Modern Gothic", The Village Voice (2004).

White Lady Art14 Wellington Quay

Dublin 2Ireland

Tues - Sun; 12 - [email protected]

http://www.whiteladyart.com

http://www.whiteladyart.com

www.unhinged.me.uk

http://www.unhinged.me.uk

http://www.unhinged.me.uk

SOURGE ICON

Paul McCarroll340 x 450 mm

Charcoal/Pastel/Carbon on Paper€800

AMPHIBIOUS

Boz Mugabe280 x 380 mm

Acrylic/Indian Ink/Paper€180

FEEDING THE FIVE THOUSAND



FISH PENIS



CONFESSION



CONSTRUCTION OF THE WHEN/WHICH THEORY



(BROKEN BY DISEASE AND DYING, THE YOUNG WOMAN CONSIDERS) THE POWER OF PRAYER



FLYTRAP



THE GHOST OF TRUST



DUALISM



MANIC SUPPRESSION



GAUNTLET



REVELATION OF THE CLOWN



GREEN PURGATORY



ACCEPTANCE



SPRIG



THE HOPEWORM DEVOURS A ROTTEN HEART



HERETIC FISH II



SHAME (STUDY)



TRUE COLOURS OF THE HERETIC FISH



INFALLIBLE



MALIGNANCE



GOSPEL



PARASITUS



THE GHOST OF EMPATHY



PROPAGULE



HUMILIATION CLINIC



SYPHON



LAMENT OF THE MUTE CHOIR BOY



PREY



THIS IS GOD’S HOUSE



WILD HONEY



ORGAN DONOR



SOULHAWKS



PNEUMA



CHLOROPHOBIA



SUMP



NAARTJIE OFFERING



SUCCUMB TO THE WAVE



PROGNOSTICATION



ARTIFICIAL SWEETENER



LE LACRIME DELL’ UNIVERSO



Grimace: an exhibition of new work by Boz Mugabe & Paul McCarroll

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