Nothing. I agree with you, man. I think we've gone a long way from chocolate box art, you know, and going back to Auschwitz.
I mean, those guys didn't even know what they were walking into when they liberated that camp. It only came out when they went there. And that's exactly what I'm saying about social commentary.
You know, there's a sort of... I regard myself as an outsider artist to some extent. And what I'm talking about is pointing out portents, pointing out things to people that might not be palatable. It might be ugly.
But I think that doesn't mean it's... Just because it's not beautiful or... I love this when people say, I wouldn't have that on my wall. Classic. How many times have I had that? I don't care, mate.
You know what I mean? It's like, this is an artistic statement. And you can even look back to Goya again with this, like, you know, classic Saturn devouring his son, right? It's still terrifying now. I mean, it's a very powerful piece of art coming out of that darkness.
You know, you could almost say it's the shadow of the archetype, the shadow of the soul coming out and expressing. But it's very powerful. And it still speaks to us now.
I mean, it's terrifying, you know? Yeah. And that's why I'm so interested in the Sea of Galilee, because Rembrandt did something in that painting that was so blasphemous as far as the church was concerned. He painted himself in as confident in the storm, Jesus.
He basically is sitting front and center in that boat. While everyone else is freaking out and panicking and chaos all around, he's standing stern with eyes straight at you. And it just has such a poignant message that unless you really peel back all of the layers, you're not really going to understand how poignant that really was at the time.
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