IB VISUAL ARTS 2022
Tom pringuer
The three Abrahamic religions are some of the most followed and defining religions of the modern world. Formed under the monotheistic belief of there exists only one God, the different transactions of knowledge as time went on developed this belief to entail three primary religions that we know now as Christianity, Islam, and Judaism. These religions have spanned history’s records for thousands of years, defined the existence of countries such as Jerusalem as well as being the guiding force for countless cultures. I have created artworks that are attributed to one of these three specific religions, yet the ideas that they comment on hold ties with all of them.
The idea of time and space is actively explored within the Christian artworks. The major elements revolve around the physical presence of a figure such as Jesus, and his interactions with the environment. The methodology of the artworks creation also guides the viewer to think about how religion exists in the world around them. The carved body of Jesus sits above an underground street, both angels and demons, along with humans wander the near empty cobbled alley of an abandoned market whilst above ground, shapeless and formless figures try desperately to be near him. The decision around the detail of each humanoid figure, whether it was above or below ground was deliberate. With the idea of Jesus’ dying for the world’s sins, the event itself is seemingly the most important event to ever happen; on the surface, the imperfect bodies of those clouded by sin, lacking the perfection of a pure heart desperately try to reach Jesus, their efforts a physical representation of the sinful repenting. Whilst this event that is made out to be so spectacular is occurring, just beneath the ground exists a world unaffected by the world above; this works in the effort to critique the perceived scale of impact on time and space that this event had – how religion can only be of worry, or benefit, to those who hear it. We wouldn’t know to fear demons, or praise angels without religious input and otherwise would coexist.
Truth is explored within the Islam artworks. The embroidery of an infamous tale told to teach children of the power of Allah along side the impression of the prophets face prompts the viewer to question how they choose to believe in the stories that they are told. The embroidery acts as a reference to every story without evidence, the word we are meant to believe, and whether we choose to or not being up to us and only us. The imprint of Muhammad’s face is the opposite – created to hold similarities to that of a dinosaur’s footprint, empirical evidence set in stone, and yet how much of this evidence would you need to have true faith?
The connections created by religion are explored within the Judaism artworks. The tree with all its roots along with the 100 coins venture into how interwoven religion is within society. The everyday transactions we make each day, whether it is literal transactions or metaphorical, exemplify the qualities that we value – whether we prefer to spend our time helping others or buying items for ourselves, each costing something – and how these values effect other. The roots of the tree hold direct connotations with lineage and descendance of beliefs through family trees, along with the journeys we have taken as well as how we have grown along the way.
The presentation of these artworks establishes them in their own specific areas of their religion. They are presented on pillars, just below eye height to give the viewer a literal overview of the different religions, acting as a metaphorical reflection on their beliefs. The artworks are placed almost in a semicircle with the intent for the display to be looked at differently by each person as they walk around and examine the pieces, seeing each one differently as they look at them from a different angles as they move around – how, similarly to when looking at one religion, one may look over to another and judge it from a far as if they are truly different, even though they all stem from the same artist.
Tangle of time
wire, plaster, acrylic paint
Overall dimensions: 110 x 80 x 80 cm
The stump of a tree is pulled from the ground, with its roots hanging below it. The stump of the tree encapsulates the belief of a monotheistic god, originally formed within the religion of Judaism. The three major roots of the tree splay out with twisting paths – the element of three nodding to the Abrahamic religions under the same god, whilst the twisting paths tell the story of the displacement of the Jewish people with their promised lands, the paths they walked, never truly at home. The form of a tree hints to the maternal line of inheritance of Judaism and the transactions of knowledge.
Sacrilege
ceramic
50 x 36 x 18 cm
The negative imprint of Muhammad’s face into a block of clay contrasts traditional ideas around religion. Muhammad’s face is not allowed to be depicted, and yet, is an imprint a depiction? The negative of something is the opposite of it – this sculpture begs the viewers to consider the rules and reasons of religion in a new light. Without the title of the piece, the face is seen only as a generic impression, and yet the intent brings into question the taboos and truths of religion, how we believe these stories and how we follow these rules under the guidance of a single prophet’s imprint
Tales of thread
Embroidery, hoop, cotton thread, alcohol marker
25cm x 25cm x 3.5cm
A child like depiction of a cave, a bird and a spider tell the tale of Muhammad being hidden from hunters by God. The embroidery itself is simple, with each rock being stitched in one direction; this gives the piece a style to that of a children’s book, commenting of the presence of religion in the upbringing of a child. Although we cannot see Muhammad, it is asked that you believe he is hidden within the cave, and yet I cannot prove it to you – you are asked to have faith like the faith in religion, with evidence you cannot see but perhaps only feel in your gut or soul – do you believe he is there?
Underground city
Graphite, wood panel
110 x 60 cm
A graphite illustration of an underground abandoned market is seen in a cave like world. Using a dramatic one-point perspective, the drawing places the viewer high and above the rooves of the houses, as if they are a figure of authority overlooking those below them. Human figures are seen looking into the recently abandoned markets, with demons and angels seen walking like equals among them. The vanishing of all the streets inhabitants may have been caused by the sacrifice of Jesus, as only the truly worthy remained to walk the underground path.
Salvation
wood, string, resin, ceramics
40 x 40 x 30 cm
A wooden carving of the crucified body of Jesus is left eternally hanging from the rope that connects his body to his hands whilst formless and broken bodies drag and torment themselves to be near to him. Created using traditional carving techniques, the body of Jesus exemplifies the reach of the religion as the figure draws connections to personally made souvenirs that are created everyday by people in means to worship him. The 7 bodies lack detail when contrasted against the perfection of gods son, in which their inner sins are also externally visualized through their demented bodies.
Father, son, holy spirit
ceramic with coloured glaze
40 x 15 x 40
The story of Jesus’ crucifixion is told along the circular ring of pottery. This creates an infinite loop which he experienced by being forced to carry his cross whilst also bearing the sins of the world, living countless lives at one time. The ring itself is broken into three pieces, where one depicts God the Holy Spirit through the naked land; God the Son is seen carrying his cross whilst God the Father is shown forming the clouds into a cross. Pottery has been traditionally used by ancient Greeks in art prompts which prompts viewers to question how religion changes through cultures and time.
Hope
carved woodblock, 3 prints on paper
woodblock: 35 x 20 x 8 cm prints 35 x 20cm
A man sits lonely in the dark, lit up by a single candle flame that he holds close to his body. Based upon traditional Jewish woodblock prints, the negative space is used to impress the importance of the chosen areas of light. The old and weak man clutches at what can be interpreted as a physical body of hope when surrounded by darkness. This piece asks the viewer to think about how their belief in a God changes them, is it for the better, or the worse? Can you use it like a candle in the darkness to guide you and bring you hope when your world is dark and raw like the woodblock itself.
100 coins
terracotta, acrylic paint
25 x 25 x 12 cm
100 terracotta coins lay in pile, as if they were just dug up from history. Imprinted with designs inspired by historical religions artifacts, the coins act as a reenactment of the transactions made in everyday life – asking the viewer to consider how we carry religion with us, pass it between us, use it to buy favour or share love. The permanence of money compared to the everchanging nature of religion over time asks which is of greater influence. The audience is asked to take a coin as they like and consider the history of the hands it passed through, the nonliteral transactions it has made.
