Cleon Peterson’s Dystopian (Anti-White?) Future
It’s well known that the art world has been a fiefdom of the left for over a century, so finding art that speaks to the issues facing White America seems unlikely at best. It’s obvious enough that Cleon Peterson‘s paintings depict a world of savage violence and depravity:
In Cleon Peterson’s End of Days, … Peterson’s world of depravity does not simply crash and burn: it reverses polarity, inherited not by the meek but by the vengeful and merciless. Whatever days have ended, they have been succeeded by a new age of barbarism, with clear winners and losers. The triumphant take no trophies, apart from the occasional severed head, but the defeated have clearly lost more than their viscera – they have lost all semblance of control, dignity, strength and, most of all, hope.
But not all is lost, nor is it over. If that sounds like the good news, well, it’s not. The scenes of brutality are depicted in medias res, after the first blows were struck, in most cases not quite lethally. As the victims live to suffer, their tormenters seem to revel in that persistence. In fact, the tormenters, which Peterson calls the “shadows,” appear to derive their strength from their subversion. …
Many of those scenes have featured characters with physical appearances largely undifferentiated from one another, suggesting a classless unsympathetic society, yet in this new body of work Peterson incorporates “shadow” figures and a new dichotomous order. There are haves and have-nots, but amid the havoc it’s hard to decide who’s who.