The work of painter Karl Persson is not for the faint of heart; his horrific scenes, rendered with hyperrealistic precision, examine the darkest and more cannibalistic impulses of the human mind. Envisioned in an aesthetic evocative of the work of horror artist Chet Zar or tattoo artist Paul Booth, Persson’s unique hellscape is wrought with sexual tension, desire, and yearning.
Through Persson’s frightful lens, the human creature becomes base and animalistic; overtaken by the sheer fact of appetite, a mouth erupts from the gut of a dead chicken, its head cruelly severed and skin raised, revealing grotesque goosebumps in lieu of downy feathers. Again, a set of carnivorous teeth slice open the entire face of a baby, who kicks and thrashes about with eating utensils in hand; with his umbilical cord only just severed, the monstrous being is never satiated and still demands more. Persson’s self portrait imagines the artistic impulse as equally cruel, presenting the artist as cannibalizing his own form in service of a ravenous creative hunger.
Within this grotesque sexual and gluttonous thirst, there are moments of beauty to be unearthed. The Kiss imagines a pair of slimy insects making bestial love with their pointy, bloody legs, stabbing one another in the process; though repulsive, their slick, glinting feelers are also magnetic and alluring, their lusty movements brought to life and crystalized forever in dreamy pinks and purples.
The work is also not entirely without innocence; in this cruel vampiric world, a fetal rat lies dead and gutted. In a stunning reversal, those that we label as “vermin” become soft, delicate babes, whereas the human is revealed to be savage and cruel. Within this piteous creature, ripped fatally from the womb, we might rediscover the all-too-rare feelings of compassion and heartbreak. Have we, as humans, descended too far into our own brutal greed, or might we return to a state of virtue and empathy? Take a look. (via TrendHunter and Mongolian Art)