The Activist and the NDAA: A Brushstroke of Resistance

Year: 2012
Size: 16×20
Medium: Acrylic on Wood
Style: Artivism
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In the world of art, the canvas often becomes a mirror to the artist’s soul, reflecting their thoughts, emotions, and concerns about the world around them. “The Activist and the NDAA” is a watercolor and ink painting that carries a powerful message, a protest against the erosion of civil liberties and a commentary on the state of our society. It’s a piece that not only marks a specific point in time but also serves as a call to awaken the collective consciousness.

As the artist behind this painting, I remember vividly the atmosphere in which it was created. It was a time when the Occupy Wall Street movement had taken root, and the shadows of the National Defense Authorization Act (NDAA) loomed ominously. The NDAA, signed into law by President Obama, raised concerns about the potential abuse of power, especially regarding the indefinite detention of American citizens without due process.

The Canvas of Discontent

The painting focuses on a close-up of a gas mask-clad face, shrouded in a hoodie. It’s an image that resonates with anyone familiar with the aesthetics of protest, but it’s more than just an emblem of rebellion; it’s a reflection of fear. In the eyes of the figure, we see the haunting reflection of state agents dressed in black, brandishing rifles. The label “Terror-ist” is boldly stamped on the figure’s forehead, marking a chilling transformation from activist to enemy of the state.

At its core, this piece is a commentary on the perilous line between activism and perceived terrorism, where one’s passion for change can be mischaracterized and criminalized. The face in the gas mask is emblematic of all activists, representing the countless individuals who are willing to stand up and be counted in the face of injustice.

Prose and Reverse Writing: A Dichotomy of Truth

Embedded in the artwork is a prose that serves as a narrative, highlighting the prevailing narratives that are designed to pacify and control. The juxtaposition of ideas in this narrative reflects the contradictions and absurdities of contemporary society. It reads as a surreal collage of consumerism, political slogans, and social conditioning:

“Shhh. Relax. Consume! Buy! Listen to Crap Music. ‘They’ hate you. ‘They’ are threatened by your freedom. Corporations Are People. Vote – It Matters. Eat this pill. Would you like to super-size that? My God is better than your God. You are Black. You are Hispanic. you are jew. you are Christian. you are white. you are not simply a human being but a sub-category. Listen to us. Do not be concerned. Watch TV. War is Peace. FEMA is for your protection. Red or Blue? See, you have a choice. It’s for your safety. Eat this pill. Stop the gays. Do not smoke this evil gateway drug.”

In red, there’s additional writing that’s deliberately reversed, like a mirror image. These words carry a message of awakening, a call to reject the status quo, and a reminder that we have the power to change our course. The reversed writing reads:

“Wake up! This does not need to be the end. Each of you has a chance to change our course. End The Fed, Bilderberg, Skull and Bones. Liberty. Revolt.”

This juxtaposition of text mirrors the dual nature of the world we live in. On one side, there’s the constant push for conformity, consumption, and compliance, and on the other, there’s the call to challenge the existing power structures, question authority, and revolt against the erosion of freedom.

Rage Against the Machine: A Sonic Rebellion

Embedded within the painting is a quote from the iconic band Rage Against the Machine: “We’re rounding up the Family, with a pocket full of shells.” This lyric encapsulates the essence of rebellion and resistance, a call to action against oppressive systems. Rage Against the Machine has been a vocal advocate for justice and change, using their music to amplify the voices of the marginalized and the oppressed.

A First-Person Perspective: Behind the Brush

As the artist, I felt compelled to create “The Activist and the NDAA” as an artistic outcry against the encroachment on civil liberties. It was a statement of my own fear and anger, a reflection of the tension that was palpable in the world around me. It was a moment of personal awakening, as I recognized the need to use my art as a form of protest, as a channel for dissent.

The gas mask-clad figure, the chilling reflection, and the stark label were all a representation of my deepest concerns. I was acutely aware of how easily activism could be painted as terrorism, how standing up for what one believes in could lead to dire consequences. The prose and reverse writing in the painting were an attempt to capture the contradictory messages that bombard us daily, highlighting the pervasive control mechanisms that often go unnoticed.

The reversed writing, “Wake up! This does not need to be the end,” was my call to action, a plea to those who viewed the artwork to question the status quo, to recognize the power they held as individuals. It was a reminder that we have the ability to reshape our future, to challenge those in power, and to fight for our rights and freedoms.

In conclusion, “The Activist and the NDAA” is more than just a painting. It’s a visceral expression of the concerns and fears that have permeated our society. It’s a testament to the courage of activists who continue to stand up, even when labeled as threats. It’s a reminder that art has the power to ignite change, to spark conversations, and to serve as a rallying point for all those who refuse to be silenced.

The gas mask-clad figure symbolizes the countless activists who have braved the front lines in the fight for justice. It’s a testament to their unwavering determination and their willingness to defy the labels and fight for a better world. This painting is a timeless testament to the indomitable human spirit, an affirmation that the struggle for justice and freedom will continue, no matter the odds.

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