"I wanted to be against a certain way of painting," Stingel said. "Artists have always been accused of being decorative. I just went to the extreme." Basically, Stingel has always gone to extremes, making good-looking, self-referential paintings about painting that somehow manage to both parody and glorify the process while corralling vast amounts of the impinging world in the form of social politics, humor, uncommon beauty and something menacing.
Described as an “anarcho-democratic, self regulating semiotic order where the unconscious and conscious, the crazy and the rational relate to each other”. In his work, Stingel turns the very act of so called vandalism into a constitutive element of his art in the museum. Audience marks contribute to Stingel’s spiral of art historical references from the modernist dream of the completely abstract painting to Dada destruction, Surrealist automatism, Fontana’s scratching and punctures, 1950’s Tachism and Brassai’s photographs of graffiti.
This piece of work was about the imbalance of the young and old in Japan. Being half Japanese I am concerned of the future of Japan and how this imbalance will and is effecting my family. My cousin Luna is 8 years old and is the only person in her year at school. I often wonder how this will affect her as she blossoms into a woman- with no one the same age as her to relate to.