Anthony Lister | An Maestro Skilled at Emotionally Orchestrated Artwork
According to some experts, the practice of headhunting was based on the concept that the life force or soul matter of the head might be acquired through harnessing.
With his broad expertise and love of mythology and superheroes, Anthony Lister has what it takes to elicit unexpected emotions in an audience with meticulously orchestrated artwork. He’s had a long-standing artistic interest in headhunting-themed works.
This article will highlight his most memorable head hunting solo show to demonstrate his ability to elicit emotional responses from audiences.
What makes Anthony Lister’s Solo Exhibition “Head Hunting” elicit Emotional Response?
What does it mean to be a member of a society that collects precious items? Football cards, artworks, Instagram followers, or trophies shaped like the heads of dead foes and fallen heroes are examples of collectible objects.
Anthony Lister show, on the other hand, looked at the significance and emotions that go into joining such a group.
A Long-Standing Characteristic Style
The Head Hunter exhibition, which depicts a parade of fallen villains and heroes, urges viewers to consider moral ideas on what is wrong and right. Anthony Lister’s comic-style color palette, unusual brushwork, and superhero characters dominate the exhibition, set on a massive canvas background.
These elements give a remarkable portrayal of Anthony Lister’s long-standing characteristic style.
Anthony Lister’s usual dramatic entrances greeted the audience upon their arrival at a mystery location. Aside from the soft smoke blowing, the strobe lights pulsating offensively from the inside intermittently illuminated the doorway.
An Informative Outlook that Dares You to Approach It
To access the Head Hunter exhibit, visitors had to walk through a doorway marked by a heavy black curtain. The audience felt a sense of suspense and amazement as they moved through the perfectly choreographed scene. It’s like a magician vanishes in a smoke cloud before his grand finale.
The commemorative headless sculptures were a potent but harsher reminder of colonial times when phantom crimes were punished with unreal sentences. The silent and neatly positioned sculptures dominated the industrial warehouse filled with quiet piano music.
Anthony Lister’s patterns and historical motives were combined in each sculpture painted with bones and abstract shapes. Furthermore, the juxtaposition of dark totemic symbols surrounded by sweet music created a profound duality of sorrow and beauty.
The design encouraged viewers to learn more about the headless people by approaching the art form from various angles. However, the abstract monuments appeared as randomly placed sections as a viewer looked upon each artwork at first glance.
Two dominance sculptures were deliberately placed in the far left corner of the room. One was a silent soldier holding a colonial gun and dictating or guarding the place. A decapitated horse stood right next to the soldier.
The most critical work in the first chamber was placed on the final wall. It’s a big canvas that acted as a celebration and a memorial to Anthony Lister’s dear companion, Magnus.
The audience was intrigued by the impressive painting’s deep feeling of emotional and sorrowful composition. Magnus was depicted in the painting as a dark figure intensely scrutinizing the area before them while wearing a terrifying clown mask.
An opening could be seen immediately between the installation of masks and Magnus, partially covered by the artistically erected jail bars. The observer must enter the show’s second section by squeezing through the bars.
Anthony Lister made sure to leave poetic and Horripilate inscriptions on the floor and bars to indicate when to cross the threshold into enlightenment. The message was delivered by providing a final reminder of hard times, the hunt, and the consequences.
Here you have it! Indeed, you’ll agree that watching such a masterpiece would have evoked in the audience the emotions that only a superb artist can elicit.
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