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Artwork Description

Oil on stretched canvas, ready to hang.

Signed on the front.

Painted in prison, CLOWNING Around #3 is the third and final painting in the short series CLOWNING AROUND.
CLOWNING AROUND #3 makes commentary on the enforced code of silence that exists in prisons (and the broader society) especially with matters regarding violence and domestic violence.
Lips remained sealed for many reasons, but largely because of cultural legacy.
Snitches get Stitches.
CLOWNING AROUND #3 is the mostly visually arresting of the three part series, the vibrant reds of the background drawing attention from across the room. The violence of the piece is more subdued but no less shocking when taken in the context of the environment in which it was created.

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Medium

Art Spectrum oil paint, applied with brush and palette knife

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Stretched and ready to hang

This artwork is currently stretched and ready to hang.

#clown, #prison, #prisonart, #political, #domesticviolence, #socialcommentary, #satirical, #clowns, #jail, #red, #white

All art by Jason Batchelor

A voodoo doll representing the Far North Indigenous population is being pricked by pins in the form of cut down syringes. Q-Health logos are on the syringes.
The doll is pushed into the earth. The earth is bleeding. 
Dot work represents the Indigenous culture. The diagonal dividing lines represents two different cultures. The white hand print is representative of Colonialist Fingerprints all over the disaster of this Government initiative.
The leaves stuffed in the doll are smoking; representative of the smoking ceremony used to send the spirit of the deceased home.
For this image the smoking ceremony is being used to send a dying culture back to the earth.
Injectable substance abuse is another nail in the coffin for  a culture from a lost time. 
  A clown holding a bloody box cutter with bloody stumps where his ear were, and severed ears hanging on brown string around his neck. Violent clown image on a muted pale bluish background.The image of a clown pulling his own eye out with a silver plated dinner fork, represents frustrations and self destructive behaviours by a person who has come from place of relative privilege.
The work is auto biographical; brutal; and employs lurid colour choicesThe pattern and repetition  of corrugated iron and mesh and the muted tones of the greys of galvanising and concrete block work emphasis the rawness of the prison environment. There is little in the way of colour to stimulate the senses.
Hard surfaces that reflect both sound and light.
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