Project Statement

by nathandowningsolent

Untitled, Nathan Downing, 2015

Untitled, Nathan Downing, 2015

With a nation so focused on the idealistic notions of success, materialisation and self-fulfilment, bestowed by means of patriotic legacy. A conscious-evading third party moulds and shapes our entire life. Ultimately fuelled by a commercialist catalyst—accountable to capitalism—the future we set for the younger generations may be that of harsh consequences. Consequences of actions, unwittingly bestowed through the naivety of previous generations, perhaps distracted by the novelty of development and the ever-expanding boundaries of human capability. The modernised normality seen within society, where by a singular focus, darwinistic in nature, drives an individual for their own satisfaction, desires and self-image, to unconsciously follow the commercialised proposals lay down by default, as a way of normalised life.

Whilst we are distracted by the flashing lights of commercialism, it is easy to forget the issues that don’t involve ourselves. Hardly a Samaritan society, we are so focused on the achievements of the future, self-sustainment and self-satisfaction that we disregard the rest. I want to highlight through simple cut and paste techniques that evade the impending grip of modernity, elements of society I feel, forgotten, broken and worthy of reformative contemplation. Taking influence from Rodchenko and Barbara Kruger, I seek to invoke a bold conveyance, by means of social commentary, political agitation and psychological activism. I want the proposed narrative to bring some awareness to the issues at hand. Emphasising the worrying depiction of normality within a westernised society, holding connotations of extremely disheartening convolution. A self-centred, self-sustaining, ignorant and commercially conditioned culture, amidst a darker and more fragile internationality, is passed from generation to generation, but, is never really acknowledged.

Emblematic of a society affixed with commercially directive blinkers, the comedic caricatures and patronisingly dated print featured in the project, present our westernised society in as simple terms as possible. My intentions are not to discriminate, but to alert. This project stands as an advertisement for anti-advertisement, on the other hand, not quite as strong as the traditional purposes of propaganda, differentiated by the conveyance of an ideology. Just a mere proposal of self-contemplation through comedic narrative, revealing undertones of a realist. By no means do I intend to murmur on concepts of political activism, the montages serve as a reminder, a peephole through the iron gates of commercialist industry, modernisation, declining tradition and the unconscious susceptibility to a voice of direction.