So, you know when you're making lots of art at once and then you suddenly have an existential crisis? Well, that usually happens for me, but this time it was relevant to the blogging prompt.
I was painting in the last Mongolian raider hamster when this project's existential crisis hit me. For most people experiencing existential crises, the crisis focuses on its owner. The victim will often wonder things like "why am I here? What am I for?" and other similar nonsense. At this, I laugh. I had already surpassed this meager stage by the time I was finished with the fourth stork. It was but the tip of the existential criseberg. No, my crises are not so egotistical; my existential crises are for my art. The eerie feeling of pure uncanny philosophy which had began with the final hamster had, by the time I had reached the first market stall, evolved into fully realized absurdist musings. At this point, the hysteria had already set in and proclaimed itself through the bright oranges in the bazaar picture. I greeted the existential crisis like an old friend and subsequently began to wonder why I am even bothering making groups of personified animals in the first place. Did I really have anything to offer to the genre of groups of personified animals? I didn't invent anything in the pictures; not hamsters, not mongols, not bazaars. I simply took these elements and put them together. That is why I say that the primary merit of this series is directly proportional to the value of the visual puns they represent. It is not often one sees a group of animal becoming their collective noun literally, and if I had attempted to be purely original it is entirely possible these wonderful humanized animals would never have been brought into this world. And now, as the time approaches the point at which the 4th period bell will toll, the 2-week long existential crisis fades, and I return to my regular programming, observing the passing of life like a mediocre sitcom with no deeper meaning.
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January 2015
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