A REVIEW OF MY ART@ HEARTBEAT GALLERY: Nick Birkhead
By Nick BirkheadI suggest that Ledger’s work owes something to the fantastical Hieronymus Bosch (1450-1516). Specifically, the Garden of Earthly Delights comes to mind, with its lush depiction of organic sin. The world famous and brilliant forerunner of surrealism was, in his day, unique and radically different. Today Bosch’s work could not be more relevant, taxing and fascinating, revealing the folly and hypocracy of man. Bosch was born during the transition from the Middle Ages to the Renaissance in ‘s-Hertogenbosch, in the Duchy of Brabant [Netherlands]. Why are his paintings so powerful and why do I think there is a common thread between them and Ledger’s more dour pictures?
Bosch places visionary images in a hostile world full of mysticism, with the conviction that the human being, due to its own stupidity and sinfulness has become prey to the devil himself. He holds a mirror to the world with his cerebral irony and magical symbolism, sparing no one. He aims his mocking arrows equally well at the hypocrisy of the clergy as the extravagance of the nobility and the immorality of the people. Hieronymus Bosch’s style arises from the tradition of the book illuminations (manuscript illustrations from the Middle Ages). The caricatural representation of evil tones down its terrifying implications, but also serves as a defiant warning with a theological basis.
|John Ledger | Ill Equipped|
The echos of these powerful works struck me immediately on viewing Ledger’s work. They were of a dark world in turmoil. Bodies and abandoned buildings were strew across the landscapes, which were more often than not cities; cities which had seen the apocalypse. These were pictures of a decaying world, where redemption was impossible. The doom presented itself as an all consuming and deadly force. There was a cruelty and even a vindictiveness which was apparent, and undeniable. Is this what Ledger thinks our world will be if we all continue on our selfish and consumptive ways? Or a portrait of the present state of affairs. To be honest, I don’t think there is much in it. If the date of his work, 2045, is anything to go by, I do not think much will change in the next thirty years..
|John Ledger | The Index Of Child Well-being|
From afar, these drawings are remote and almost picturesque; only upon intimate inspection do they reveal the tremendous horror of the truths they reveal. The macabre and the ironic and the droll all seem to be competing. Even more interesting is the methodology behind them. The fact that Ledger has chosen a biro as his instrument for these works is significant. If the biro is a symbol of anything it is transience. The throw-away nature of the pen indicates Ledger’s choice of atmosphere for his work; as if commenting on the idea that humans, like the tool he has chosen to depict, are useful but not permanent. As if the state employs us for a time, and then discards when we are empty. Such a picture of the world is not a pretty one. One which is filled with vices and death and decay. Physically, the pictures are very striking and the tone which is set by the biro creates great contrasts within the works. They are evidently a labour of love, and as I stood in front of them, entranced and appalled, I thought just how long and how much pain-staking effort it cost to produce such mesmerising effects. What on the surface may seem to owe something to the colourful and cheerful design of the Beatles’ Yellow Submarine is in fact a violent indictment of the corruption which we encourage with our lifestyles.
|John Ledger | In The City…|