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“I squinted cautiously because my eyes hadn’t gotten used to the dazzlingly bright sun of Duckburg yet, and I greedily sucked the fresh breeze into my dusty lungs that came drifting over from Uncle Scrooge’s money bin. I was back home again, in a decent world where one could get flattened by steam-rollers and perforated by bullets without serious harm. A world in which people still looked proper, with yellow beaks or black knobs instead of noses. And it was here that I met the man who would forever change my life – Donald Duck.”

To be honest, the origin of Helnwein’s inspiration is a little strange but i have to appreciate the honesty. It’s interesting how his primary inspiration spawns from a childhood obsession and still to this day is acclaimed as highly.

What i especially like about these specific landscapes is their scale. All of these pieces are over 1m tall and 5m wide. It is the sheer scale of these paintings that leaves me utterly gobsmacked and captivated let alone fascinated to know HOW DOES ONE HAVE THIS AMOUNT OF PATIENCE!!! Helnwein produces huge amounts of work that revolve around children and the imagination of children. This work is also acclaimed and credited as noticeably dark and twisted which is perhaps why he was commissioned to paint the backdrop for the 2010 opera ‘The Child Dreams’…

I have worked on a similar shape canvas as Helnwein and have actually really been trying to paint and draw more in this sort of frame. A long strip of work rather than a square. I have just always been interested by this kind of composition. What it means, what kind of messages can you portray through the use of this scale and all the different ways in which messages can be portrayed. I find in my work i am interested in negative space and the impact that this has. A lot of my favourite artists examine this subject delicately and execute it exceptionally well.