by Johnny McNeill – unpublished author of ‘Gaslighting Gilligan‘ (released from Berlin on 25th June 2017).
This painting as I understand it, is a contemporary piece called ‘Ecate’ by an artist named Roberto Ferri.
I encountered it on a men’s #DomesticAbuse survivors page, where the poster was asking for interpretations.
And so I gave mine, doing so not as an academic, art-critic or historian but a State school council-house kid & ex-British Army Squaddie, who was jarred into reality on the 12th September 2016; and began interpreting the ‘pseudo-reality’ we’re afforded, from an entirely refreshed ‘programming’ perspective…
This how I interpret ‘Ecate’.
They’re both a representation of evil; of The Devil, Lucifer, The Beast, whatever you want to call ‘It’.
Each has a wing, which if they worked together – would enable them to fly. But they won’t; the self-serving individual has been lionised and normalised; their own individual materialistic wants are too overwhelming and insecurity needs, too overpowering.
His powerful wing has become deformed but hers, delicate and refined, she keeps hidden, as she waits for another, ‘better’ wing; a ‘better’ man; a wing more befitting of her toxic beauty and status; a man she ‘deserves’, as she points to a higher #DarkTriad power that in turn has given her, her intoxicating, emasculating, imprisoning power – over man.
Conditioned, the man is made to revere, to worship the ‘perfect’, ‘kind’, ‘harmless’ ‘haloed Saint’, a generational substitute for ‘Mother‘, yet hidden from society she is equally susceptible to inherent and societally projected narcissism. But “infinitely malleable” (Orwell), it is he who must gain her recognition, her acknowledgement, her approval; for her psychological-emotional sustenance & physical sex.
All just so he can hold onto what’s left of his gaslight-stolen sanity; a sanity that he had to all but give up with his very being and allow, invite, his reality and his experience of ‘It’, be wilfully overwritten; his gaslit chivalrous-conscience demanding of him to psychosocially adapt his behaviours in order to survive both her and the time.
A time, an epoch, in which we’ve been before, against the backdrop of darkening skies, where the man is repetitively told by reinforced media messaging; that he already is ‘It’, a Beast, a monster – manipulated to believe that he as an individual, can never be anything other than a blight on society; on humanity; ranging from “pathetic”, to “patriarchal” to a ‘PreCrime’ “rapist” and “paedophile”.
But collectively, amongst men – an inner, confused, ‘toxic masculinity’, hive-mind resentment has been built as pressure in a vat, ready to unleash the manipulated monster – upon a ‘unifying’ trigger – with the negative destructive energy and the carnage-charged emotion channelled to a patriotic place where men are not only ‘allowed’ to be men but are worshipped as men; in a ‘re-masculating’, mass-murderous military uniform.
And I see the moths as a representation of ‘Its’ cyclical ‘nature’, not butterflies because butterflies are too beautiful. The moths, which can be a destructive force themselves, have come out of their life-cyclical stasis in order ‘It’ can take its place on the global stage – for the third and final act.
You know it as #MeToo
I call ‘It’ The #MeTooMatrix;
🇬🇧 https://wp.me/p94Aj4-Ai 🇺🇸
🇨🇦 #MeToo 🇦🇺 #TimesUp 🇦🇺🇮🇪(🇷🇺)
NB For those that might accuse me of being a ‘misogynist’, my response is already in the second paragraph of my interpretation.