How do they cohabit?
It’s not exactly new. Hieronymous Bosch and Goya, Balthus, and Picasso’s erotic works blazed the trail: the scandalous, the grotesque, the hardly tolerable, the violent and the beautiful coexist as one in art. Even so, here it is not about painting trash as much as it about painting a period that is “trash”. Notprovocative or scandalous for scandal’s sake, but rather an attempt to convey the movement of the times, via the movement of the paintbrush.
Creating to comprehend…creating to pierce the mystery of a world in which we can feel alien, displaced. Creating to understand the intentional refusal of the aesthetically pleasing,and decadence and the obscenity raised as new norms.Creating to truthfully reflect the sad decline of the human relation. Creating to resist. To continue to be. To exist, (h)ic et nunc. Creating, that trash may also be chic.
And so it is that trash and beauty generate/nourish each other, coexisting in the face of controversy and drawing their respective matrixes from a society in search of new points of reference. One no longer exists without the other.
Without scandal there can be no history of art…but still…
Humanity is riddled with paradoxes. A case in point? That innocence and perversion exist in one and the same world. Where childhood is but purity, truth, spontaneity, adulthood can be the age that defiles it.
Thus the perverts capable of ravaging the purest innocence.
To evoke this same world where good and evil, purity andperversion exist, side-by-side, what better symbol than a favorite childhood object and catalyst of many a dream–the piggy bank–while keeping in mind the “pig”, in its most bestial sense: the abject swine guilty of child abuse?
Once again, artist Mouna Rebeiz calls upon designers, this time to customize piggy banks that will be auctioned for the benefit Innocence in Danger.