THE COLLAPSE OF THE EMPIRE OF THE SKY
Acrylic on canvas
122 x 152 cm
The first breaking point of the collapse of the House of God, preached by Christianity, happened during the permissive years of extreme lassitude of the Renaissance, when the clergy overtly succumbed to the desires of flesh. The humble congregations around the world couldn’t believe what they were seeing with their own eyes. The altar suddenly seemed uncertain and God was more and more perceived as a stateless exile. Only a few orthodox Catholics , obese with fear, followed the original Gospel, while the multitude dived into impure decadence and into a corrupted state of prostituted existence. Harsh? Yes, but true. The second crack in the christian foundations was due to the imperialist attitude of the Vatican, with its armies of mercenaries and love for geo-political influence. The holy Inquisition became God’s slaughterhouse, however without realising that the Catholic Church was refining nothing more but the art of self-destruction by fuelling the appetite for heresy and cheerful martyrs. Spain became the first doubter in eruption against the homicidal talents of the Holy Church. Venomous pomp and circumstance, corrupted slaughterhouse of desire for splendour and an ecstatic longing for majestic grandeur ruled in St. Peter’s quarters, clouding, the greed imbued Cardinals and Monsignori, of their lucidity. Even today in the 21st Century the Vatican has still got mercenaries in the form of the Swiss Guards, the Body Guards of the Pontifex Maximus. What if Joseph would have told the truth? Maybe his son would have remained an obscure Jew, right? In the centre of the painting, we see a Bishop, who is walking the ranks of perversion, beatifying terrorised nuns while the Swiss Guards keep everybody imprisoned in this indecorous whore house of sexual pestilence and leprous glory. On the lower right we see a blond woman crying, she symbolises the collective subconscious of sadness and incredulity. In front of al this chaos and certitude of delirium one wonders with open eyes. The style in this painting varies from American pulp illustrations, through to Italian comic strips of the 70s to a daub of Italian tenebrism.