Comments

TheHeadlessHoodiesman: A lot of things in his life will hit this fluf ball like a truck, like finding out he has 2 older half brothers.
Becoming a deemoon.. etc lol

TheHeadlessHoodiesman: Yo hilly, I may or may not be on tonight, so hope to see you if I do fam!

TheHeadlessHoodiesman: Little bit of friendly criticism: the shoulders are a bit wide in comparison to the head, and maybe you could try making a light mush outline around the hair where the darkest parts of the background are so people can kinda see where the hair and background meet, other than that, I love this picture Hilly! Great job! This has to be the best one I've seen so far! Keep up the good work friendo!

TheHeadlessHoodiesman: And by the light outline, I mean kinda making the current one a bit lighter.

TheHeadlessHoodiesman: Because some people have their screen brightness set kinda low. Lol like me, I had that problem when I first saw it lmao.

HillytheSlime: @TheHeadlessHoodiesman: AHHHHHHHHHHHHHHH thank you for the criticism! I was sleep deprived when I worked on this, so I can see what I did wrong lmao. Thanks Poco!

TheHeadlessHoodiesman: No problamo Hilzy!

TheHeadlessHoodiesman: Oh my god. Zeal what the shit lmao

TheHeadlessHoodiesman: What the fuuuuuUU-

Towa: meh...

forerunner2: I CAN DRAW :D

FartingCarrots: Fudge even I can't do that -I think- *claps* well done lel

no_name: aww I love it! sorry I haven't been on, been depressed as usual, but have been BUSY so I'm sorry... love you, see you when you can reply.

forerunner2: thanks and its ok i feel ya

FartingCarrots: Yes

Bbu: cursed

tollor: "The Battle", a collaborative painting by established Missedenian painter Jurgen van Schreicher and new talent Jamila Habibi, is a fresh, subversive commentary on the perpetual movement of society towards chaos. "Entropy" would have been another apt title for this piece, which demonstrates the breakdown of social norms while simultaneously attacking the weak, preconceived rules by which the major population abides today. The painting consists of a multitude of frenetic, colorful lines on a grey-brown background. The background itself serves as a base on which the conversation takes place, but more importantly, it represents mankind on a primitive level. The simple, earthy colors remind the viewer of the simplicity of the human experience itself, as evidenced by the consistent morals and values that remain constant to human nature throughout history. However, the layering of elements atop the background indicate that through the passage of time, increasing restrictions and pre-made 'norms' have been imposed on society, and have become ingrained in the perception of human nature. In particular, we can note that the rectangles -- randomly placed, as commentary on the inanity of conceived societal rules -- are largely consistent in weight, and the verticals of the shape contrast with the organic lines present in the foreground. These rectangles represent the basis of society, that is, the 'pillars' by which we hold ourselves morally. By placing them within the chaos of the other elements, the viewer is forced to question their own morals -- are these pillars by which we hold ourselves so devoutly as important as society tells us? Who created them, and what are their credentials? In this painting, JVS and JML indicate that these pillars are so easily created out of nothing and followed, and can be instated by anyone, thereby shattering the conception that morals and rules are placed on society by a more morally-correct being. In doing so, they question the importance of religion, although that evaluation may be completed at a later time.

The frenetic lines in the foreground vary in weight, shape, size, and color. It is clear to the viewer that they are randomized, again reinforcing the idea that societal rules are random, and ultimately, inconsequential. No individual line has a large visual impact, yet as a whole, they create a sense of chaos that engulfs the viewer. Though some lines are thicker or brighter than others, it is generally difficult to locate a focal point, which indicates that no one line -- and no one rule, or aspect of the contemporary life -- is more important than another. However, the use of bright reds stands out from the more dull shades, and may represent the inclination of society towards violence in the modern ear. Violence has been a common theme in art historically, and JVS and JML comment on the increasing privatization of life and isolation of the modern individual, which could lead to an increase in violence in the human nature. The mustard-brown colored streak in the center of the painting is larger than most other strokes, and helps to contrast the purple of JVS's signature. In a signature move by JVS, this streak is primarily used to emphasize JVS's own name. While one could immediately claim that this choice was made egotistically, it actually highlights the importance of self in the modern era. As the technological age progresses, the individual surrounds himself with interaction of a new kind -- digital, rather than physical. JVS comments on the isolation of the individual by highlighting his own name, in this way sacrificing himself to reveal meaning to the viewer. Note that JVS's signature is in the foreground -- this clearly refers to the novelty of isolation, that is, that individual isolation has only just recently become common in today's population. Likewise, the repeated letters painted into the piece with rigid, type-like consistency, represent the individual's frustration with both understanding oneself and society. Repetition is a representation of insanity, that is, the inclination of an individual to continue to operate within society's rules without understanding why. By layering the text between the organic lines, the painters show how this struggle has persisted historically. Note that in the foreground, the text is bright red, which may be an indication that the individual, in his frustration, is moving towards violence as a way to break from conceived confines that he does not yet understand.

The grid-like pattern of the neon pink and green strokes is indicative of both the coevolution of society and technology. Although the painting is done in acrylic, the conformity and rigidity of the lines belay a sense of electronic influence, that is, they are purposefully painted to mimic the lines seen in "The Battle"'s contemporary digital counterparts. Both the green and pink lines are heavily intertwined and layered, indicating that society is irrevocably reliant on technology for progress. To remove technology to result in a swift degrading of the contemporary individual. This theme speaks to the painter's commentary on the increasing isolation of the individual through technology, although it is important to note that the painters do not betray their opinions on whether this change is positively or negatively effecting today's population. The pink color is also used in some abstract, flower-esque shapes scattered throughout the piece. These shapes lend the piece a sense of whimsical beauty, perhaps representing society's attempts to mask both its lack of self-understanding, and the lack of importance of its rules, both to itself and the individual. However, these shapes are only defined through lines, and the elements underneath are easily accessible to the viewer, indicating that attempts as masking are unsuccessful.

Finally, the viewer is drawn to the capitalized, neon 'WOW!' near the center of the piece. This text may be commentary directly from the painters, speaking to their amazement at both society, and the population it rules. They may be indicating their incredulity that we often so mindlessly follow the rules, and fail to question the influence of our decisions. In doing so, the painters implore the viewers to better evaluate their actions, and their motivations, to determine whether they are dictated by preconceived notions of self, or through genuine human nature. One may also question whether it is a statement simply marveling at, in observation, the layers placed upon human nature itself, and how contrived society has become today. In this way, the text is not judgement, instead drawing attention to society as a whole, and forcing the viewer to see contemporary life in its fullness, rather than be engulfed, as one is normally.

While the painting indicates a level of social deterioration arguably far more advanced than the present state, "The Battle" provides a grim prediction of a future that we, as a people, are uncontrollably hurtling towards -- one may say that this piece was painted in warning.

boopy: Do you know something, tollor. That critique was absolutely spot on. Absolute genius! I must get you to do one for an up and coming Derdonian artists.

FartingCarrots: Dun judge

FartingCarrots: Well I partially well mostly did the girl but she did the head shape for me and the skirt