No Logo 2025 – 35 x 28,5cm, acrylic, oil, wire, pencil, canvas
Here, the nod to Naomi Klein’s The Shock Doctrine is explicit, a simple illusionistic frame (red, green, black, white bands tilted in perspective) that masquerades as structure, yet leaks and frays at the edges. The sketchy pencil marks surrounding it feel like frantic annotations or graffiti, refusing to let the frame stand unchallenged, while the oil stain seeping from beneath is the painting’s quiet killer: a dark, viscous pool that bleeds out, undermining the illusion from within. The wire again adds tension, perhaps binding the frame or piercing it, turning the whole thing into a fragile construct on the verge of collapse.
Symbolically, this captures the “shock doctrine” applied to Gaza: engineered crises (bombardments, blockades) create opportunities for corporate entry, private contractors rebuilding what was destroyed, tech firms supplying surveillance tools, energy companies eyeing offshore gas reserves, all while the “logo” of sovereignty (the flag) is reduced to a hollow frame.
The seepage is the real story: the slow, invisible extraction of resources, dignity, and future, leaking out despite the imposed structure. The painting refuses to be contained; the stain spreads, the pencil marks encroach, suggesting resistance that persists even as the system tries to box it in.