I created this piece after my New York exhibition of April 1996. Its deceptively childlike appearance conceals a heart filled with nails. The city is an evil influence, dehumanising its denizens and corrupting the air around it. This is readily apparent on close examination of this painting. Unless you're stupid of course.
The Etherea paintings, as I have mentioned, was to create a sense of the unknown but at the same time to evoke the safe and the secure. Etherea 12 is the most transparent example of the concept I have yet produced. Its simplicity is such that I am almost embarassed to call it art. Yet this has received some of the greatest praise ever heaped upon my work. In April 1996 one critic described it as being "Completely s***, but a lot better than his last exhibition".
The simple image of a dirty skylight becomes a powerful icon representing God. Is that so wrong? Why must you stare? Because I said that The Foo Fighters remind me of the Beach Boys - what is so wrong with that? And hating Space because that chorus sounds like they're singing 'more deadlier', that's totally rational I tell you.
And then I got off the bus.
This painting was copied from a photograph of the surface of Mars, recorded onto video, which was then recopied several times, passed around some of my sycophants, posted back to me in a package with an alarm clock, resulting in a bomb scare, and finally projected onto a wall in an old chip shop where I traced this final rendition using only the shop's range of moldering condiments.
I was sick for weeks.
Next time I will be bringing you more of my paintings, and if I can find a photographer I can trust to get it right I will also be featuring my famous sculpture, Toilet Brush - up your arse. Also some of my series Hirstute, using floppy disks as an ironic symbol of modernity.
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