NJ Alphonsus
No Great Decision, 2024
Oil on canvas
40 x 30 x 2 cm
Own Art
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Changing Ideas Award 'No Great Decision' This painting explores the strange, unsettling experience of exploding head syndrome, drawing on the visual language of film posters and the heavy, lingering themes...
Changing Ideas Award
"No Great Decision"
This painting explores the strange, unsettling experience of exploding head syndrome, drawing on the visual language of film posters and the heavy, lingering themes behind Oppenheimer. Heads and limbs spill out of kitchen cabinets in a chaotic, almost absurd way, turning an ordinary domestic space into something tense and surreal.
The bursts, like nuclear explosions erupting from the ears, push that tension further, reflecting a sense of mental overload and underlying fear. They hint at the idea of the world edging closer to “midnight,” referencing the Doomsday Clock and the growing anxiety around global conflict and the possibility of worse to come.
By blending exploding head syndrome with these very real, collective fears, the piece sits somewhere between personal psychological disturbance and a wider sense of societal unease. It’s meant to feel disorienting, but also uncomfortably familiar, like something just beneath the surface, ready to break through.
"No Great Decision"
This painting explores the strange, unsettling experience of exploding head syndrome, drawing on the visual language of film posters and the heavy, lingering themes behind Oppenheimer. Heads and limbs spill out of kitchen cabinets in a chaotic, almost absurd way, turning an ordinary domestic space into something tense and surreal.
The bursts, like nuclear explosions erupting from the ears, push that tension further, reflecting a sense of mental overload and underlying fear. They hint at the idea of the world edging closer to “midnight,” referencing the Doomsday Clock and the growing anxiety around global conflict and the possibility of worse to come.
By blending exploding head syndrome with these very real, collective fears, the piece sits somewhere between personal psychological disturbance and a wider sense of societal unease. It’s meant to feel disorienting, but also uncomfortably familiar, like something just beneath the surface, ready to break through.