In Modern Diplomacy and Propaganda, I ask viewers not only to look at the paintings, but to analyse the world around them: history, current events, political language, propaganda, public obedience and the repeated patterns of violence.
Political violence rarely arrives honestly. It comes dressed in noble words: peace, protection, patriotism, order, tradition. The mask changes; the machine continues. My symbols — the burglar mask disguised as peace, the television head, the organ grinder, the obedient crowd — are not decorative surrealist inventions. They are visual clues pointing beyond the canvas.
I want the audience to pause and ask: Where have we seen this before? Who benefits from the story being told? Who is asked to obey? What is hidden behind the performance?
