Employing satanic imagery while avoiding the pitfalls inherent in the teenage angst connotation it often represents is a difficult line to toe. The most effective way to navigate, to proceed, seems to be hyper-realism in most cases; it’s as if the skill of the execution and the artistic maturity implied therein serves as one of the few effective wards to mainstream criticism.
The artist here pulls it off well and in spades. The detail within the goat figure is enough to make even the most accomplished engraver of antiquity hang their their head, and tip their hat in acknowledgement to the evident skill contained within the execution of this design . The background pattern points to psychedelia, to the idea of existence and vitality behind discernible reality of existence- to mysticism. This work takes something niche and fringe and through masterful execution, gives it standing to exist within the context of the fixedly mundane world we as people seem to operate in.
It isn’t enough to want to counterbalance the norm. To successfully ‘David and Goliath’ one needs to bring one’s A-game. The artist here is using satanic and “pagan” imagery; but it’s modernized by the background and in a way that suggests that the backing ideology is more than just reactive: that the ideas expand out past the conversation of opposition. The figure behind the goat that points to a sphere is perhaps tribal (for lack of a better term), but it points to a time wherein humanity was open to things not readily discernible. The darkness is ominous. it exists, but might be benign. The question of the image isn’t as much as challenge as a question: “what if evil exist’s more as a blunt and pervasive inclination, rather than a sharp pernicious instrument employed by one’s fellow man”.