Am I the real monster here?

Am I the real monster here?

Adam Boyd

My current paintings tend to be dissected; one part full of pictorial information juxtaposed by its other, which functions to suggest some form of absenteeism. 

The narrative driver for these transcribed domestic scenes is the discovery of some form of absence. In Haruki Murakami’s “1Q84”, the married girlfriend of Tengo (the principal protagonist), recounts a recurring dream in which she encounters a recently vacated dining room. Kyoko Yasuda starts to entertain darker thoughts that her presence is the reason for the dispersal of the diners. The dining room in this painting captures a scene from the television series “The Leftovers”; in which a character’s entire family vanish without a trace, whilst sat around the kitchen table. These images feed into notions of blame culture. In the top section, the closing scene of Denis Villeneuve’s “Enemy” is transcribed. Here, Jake Gyllenhaal’s character encounters a complex signifier (a giant spider) that transmits his wife’s anxiety over his adultery.

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