The Dark Arts of Brexit

Art imitates nature in all its beauty and ugliness. Gordon Coldwell’s fine work shows us the grim realities of Brexit. Find Gordon’s work at Gordon Coldwell. Here’s just a small sample of his work which includes a satirical book. The only benefit of Brexit is the level of satire that it has produced. See also Gutterpress, aimed at our populist media.

Gordon’s piece on The Truss perfectly encapsulates her own view of herself versus the chaos that surrounds her. The epitome of naked populism with zero substance.

Gordon says of himself and his satirical book:

When I was 16, in 1970, my secondary school art teacher took me to see an exhibition of work by the German anti-war artist, John Heartfield, at Newcastle University’s Hatton Gallery, in the NE of England. The exhibition left a lifelong impact on my thinking about the importance of art as a means of communicating concerns about political developments that have the potential to lead to conflict and social unrest.

Approximately 50 years on from seeing that exhibition, it is still fresh in my memory – Heartfield’s works appeared as profound, apocalyptic and poster-like compositions.

During my career, I spent 30 years working in colleges: 20 years as a Lecturer and Head of Art, Design & Media and 10 years as a Marketing Manager. I left the education sector to start my own Branding & Marketing business – after 10 years, I closed the company due to being diagnosed with Parkinson’s Disease.

Since turning 60, I have been making artworks every day. My preoccupation is always concerned with the message/meaning of each image and the ongoing development of my own pictorial language.

Since 2016, the political landscape in the USA (re Trump), UK (re BREXIT) and elsewhere, seems to me to have undergone a significant shift to the right. Populist politicians strategically presenting contrived, accusative, provocative and distorted bite-sized phrases that are essentially emotive and manipulating. These messages are the essence of today’s ‘climate of political ideas’ and pander to a Nationalist appeal.

My response has and continues to be one of making artworks, often remaking and re-populating ‘Old Master’ compositions to present oblique and, at times, humorous or ambiguous comment on, for example, President Trump’s extremely odd, self-caricatured appearance and behaviour. His use of language, his spitefulness (…etc) all point to the potential for extreme outcomes… AND… the politicians responsible for the disharmony and fracture that is self-evident in the UK because of the whole BREXIT process, which could ultimately have a seriously damaging impact on the UK’s economy and social cohesion.