The 2024 American election has become a spectacle worthy of global attention, with its dizzying mix of drama, absurdity, and political theatre. English artist David Borrington captures this uniquely American pageantry in two sharply satirical pieces: The Great Democratic Gala of 2024 and The Great Cleanup: From Bunker to Garbage Truck. With a dry, impartial wit, Borrington dissects the contrasting campaigns, exposing their absurdities while offering a reflective commentary on the state of modern democracy.

The Great Democratic Gala of 2024

Borrington’s portrayal of the Democratic Party as a glitzy gala lampoons their reliance on celebrity culture and nostalgic rhetoric. The scene is a dazzling spectacle of red carpets, sparkling champagne, and familiar faces from Hollywood and Washington. Yet beneath the glamour lies a hollow core. Kamala Harris plays the “everywoman” with awkward theatrics, while Joe Biden stumbles into the spotlight only to be shepherded away. Hillary Clinton is ever-present, clutching a new dossier as though reliving a career that refuses to fade, and Barack Obama appears with belated wisdom, leaving the audience to wonder why he saved it for now.

The satire is sharp, underscoring a campaign heavy on star power but light on substance. Megadonors, corporate backers, and global elites hover in the background, their influence as undeniable as it is understated. The rubbish left behind—recycled promises and empty slogans—reminds viewers that despite the fanfare, the concerns of everyday Americans remain frustratingly absent.

The Great Cleanup: From Bunker to Garbage Truck

In stark contrast, The Great Cleanup presents the Republican campaign as a chaotic yet determined operation. Donald Trump stands at the centre, swinging a golf club in a sand bunker—a fitting metaphor for his unorthodox and often turbulent leadership. The titular garbage truck, emblazoned with “We Take It All,” looms nearby, symbolizing Trump’s pledge to clear out Washington’s entrenched dysfunction. Around him gathers a motley coalition: farmers, factory workers, ex-Democrats, and even the Amish, all united in a shared desire for sweeping change.

Borrington injects humour into the chaos, from a Republican hero lifting a beam off a trapped Democrat to endless reels of Trump’s speeches piling up on high-speed SSDs. Yet there’s an underlying seriousness to the work. The garbage truck embodies a promise not just of clean-up but of transformation, while the grassroots energy of the scene suggests a movement intent on breaking through the gridlock of the old political order.

A Balanced Reflection

Both pieces, while humorous, carry a serious undertone, reflecting the contradictions and challenges of modern American politics. The Democrats are shown as polished yet disconnected, leaning on nostalgia and celebrity endorsements to mask a lack of meaningful change. The Republicans, though chaotic, exude a raw energy that speaks to a desire for reform, even if the execution is as unpredictable as Trump’s bunker golf game.

David Borrington’s work offers a refreshingly impartial perspective, capturing the spectacle of the American political machine with a sharp eye and a steady hand. The humour is subtle but pointed, allowing the viewer to laugh at the absurdities while contemplating the deeper truths beneath. In the end, both pieces remind us that in politics, as in art, the glittering surface often hides a much messier reality.