This website publishes latest Artwork exploring strange unique analysis, of social political and current affairs. Through the eccentric English mind of the artist David Borrington.

David Borrington is an artist who works with etchings and printmaking to develop highly detailed pieces, presenting sweeping depictions of contemporary political and cultural events. The range of pieces depicting references to diverse topics like Pinochet’s 1973 coup in Chile to the 2012 London Olympic Games. What unites these works is a cohesive essayistic style that allows David to cultivate historical allusions, moments of gallows humour, and scathing social commentary across very broad canvases. [read more] As such, David employs different registers from the satirical to the controversial, seeing the various strands of his work as being focused by a thorough search for objectivity. The role of reportage is central to this practice as David deploys a sceptical approach to the issues he presents beyond the bias, propaganda and hypocrisy he finds in the mainstream media. In this sense he feels an allegiance to what one might consider a legal approach, evaluating the evidence found in the world around him and presenting it as objectively as he can. Whether one agrees with the artist’s vision or takes offence, a critical judgment is always elicited and a stand must be taken. David considers this kind of critical response to be a fundamental prerequisite for the establishing of any active form of engaged citizenry and thought. It is this critical discourse that David identifies in the progressive study of law as his work constantly searches for a sense of insight in a world that is wrought with complexity. As such, his work demarcates a space where the critical processes of art and law might converge. In And Did Those Feet In Ancient Time, LONDON 2012 (above), for instance, we get various scenes of celebration and sporting rivalry alongside looming references to warfare and the violence implicit in any geopolitical landscape. The work focuses a sense of absurdity and juxtaposition that forces the viewer to reckon with the broader duplicities the piece infers. This is characteristic of an artist with deeply egalitarian principles. And Did Those Feet In Ancient Time, LONDON 2012 gives a view of a particular historical situation filtered through a highly idiosyncratic perspective that demands a dialogue with the viewer. However, there is another dimension to this act of reportage that places David’s work far beyond being merely controversial. In presenting illustrations that are highly detailed, with various conflicting and sometimes shocking depictions of conflict and injustice, the audience is implicitly asked to critique the various juxtapositions and problems his work presents. The constant tension posed between the part and the whole in his larger works is also indicative of the way David seeks to use this particular style of reportage in order to elicit an active political discourse with his viewer. [/read]

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