The gallery of portraits, in rigorous black and white, shows us a whole assortment of supposedly “honourable” men with the heads of invertebrate animals, depicted full-length and grandiloquently dressed, wearing their medals, flaunting wealth and power. This disturbing repertoire serves the artist to deconstruct, through irony, parody and black humour, the patriarchal necropolitical regime, one of the most harmful constructs for the totality of living beings.
Mad Meg draws on a wide spectrum of references and quotations from canonical art history, accompanied by calligraphic texts that run through the forms, composing a visual texture that requires meticulous inspection, as the drawing presents the engraving pattern of a scientific illustration, that is, presumably objective, where the mixture of elements endows each composition with an extraordinary iconographic power.
The profusion of detail and the meticulousness with which this artist, whose name is a transcription of Dülle Griet, the epigraph of a work signed by Brueghel the Elder – one of her references – in the mid-16th century, is impressive.
Mad Meg resorts to excess and sarcasm to caricature these patriarchs who, despite being the emblem of Western civilisation, have abdicated all humanity, and in doing so questions the ideologies on which they have founded their dominion, from colonialism to neoliberal capitalism.
Top image: MAD MEG, Patriarche n 15 “Le Nouveau Père”, 2018. In on paper, 240 x 96 cm (Detail). ENQUIRY