In her newest collaboration with Multiplied Projects, Jenny Eggleston has created a tour de force that showcases her draftsmanship and satirical acumen in equal measure. The work began as a visceral response to the US invasion of Venezuela, with Eggleston turning to a roll of paper tacked to the studio wall, working in charcoal.
New imagery of leering dollar-eyed clowns and oil derricks (the latter shaped eerily like a horse) emerged alongside her signature carousel horses, beaten and betrayed. Also making an appearance is a Mickey Mouse gas mask: a WWII-era novelty designed to make chemical protection less frightening for children, reanimated here as an emblem of state violence during the ICE raids.
As the political climate grew increasingly tragic and surreal, she built up additional layers of charcoal on long rolls of translucent paper laid over the original. Each layer was photographed and brought into digital form, gradually accumulating into an apocalyptic vision. The imagery was refined and ultimately inverted, giving the finished work the look of a chaotic chalkboard.
The final catalyst was Benjamin West’s 1817 painting “Death on a Pale Horse” and Albert Pinkham Ryder’s “The Racetrack (Death on a Pale Horse)”. Drawing directly from West’s composition, the narrative of the Book of Revelation becomes an unsettling mirror to present-day calamity.
“Clown War” is an original collaboration published by Multiplied Projects. A collage of 38 pigment-based inkjet prints measuring 56 × 96 inches, it was printed using an EPSON Surecolor P700 with Ultrachrome inks.
In her newest collaboration with Multiplied Projects, Jenny Eggleston has created a tour de force that showcases her draftsmanship and satirical acumen in equal measure. The work began as a visceral response to the US invasion of Venezuela, with Eggleston turning to a roll of paper tacked to the studio wall, working in charcoal.
New imagery of leering dollar-eyed clowns and oil derricks (the latter shaped eerily like a horse) emerged alongside her signature carousel horses, beaten and betrayed. Also making an appearance is a Mickey Mouse gas mask: a WWII-era novelty designed to make chemical protection less frightening for children, reanimated here as an emblem of state violence during the ICE raids.
As the political climate grew increasingly tragic and surreal, she built up additional layers of charcoal on long rolls of translucent paper laid over the original. Each layer was photographed and brought into digital form, gradually accumulating into an apocalyptic vision. The imagery was refined and ultimately inverted, giving the finished work the look of a chaotic chalkboard.
The final catalyst was Benjamin West’s 1817 painting “Death on a Pale Horse” and Albert Pinkham Ryder’s “The Racetrack (Death on a Pale Horse)”. Drawing directly from West’s composition, the narrative of the Book of Revelation becomes an unsettling mirror to present-day calamity.
“Clown War” is an original collaboration published by Multiplied Projects. A collage of 38 pigment-based inkjet prints measuring 56 × 96 inches, it was printed using an EPSON Surecolor P700 with Ultrachrome inks.
