Ben Quilty's 'Devil/God' Explores Masculinity and Climate Collapse

Australian artist Ben Quilty has launched his New York solo debut exhibition, titled 'Devil/God,' at the albertz benda gallery. This exhibition delves into complex themes including masculinity, power structures, religious institutions, and the escalating crisis of climate collapse. Quilty frames the show as a direct response to a world he perceives as being pushed to its breaking point, drawing inspiration from Arthur Conan Doyle’s 1928 short story, 'When the World Screamed.' In Doyle's narrative, Professor Challenger attempts to prove the Earth is a living organism by drilling into it, inadvertently causing a global scream and violent earthquakes. Quilty revisits this premise nearly a century later, finding its fictional premise eerily resonant with contemporary ecological devastation, making the story feel less like science fiction and more like a stark reality.

Renowned for his distinctive, heavily impastoed painting technique, Quilty applies his expressive artistic language to address critical contemporary issues. His work in 'Devil/God' confronts the pervasive influence of climate change, the enduring legacy of colonial violence, the role of religion, and the intricate systems of power that underpin these phenomena. A central and persistent subject in Quilty's oeuvre is masculinity, which is explored extensively within this exhibition. Cars, a recurring motif in his artistic practice, are recontextualized as potent symbols of male pride and aggression. In 'Devil/God,' these vehicles are depicted with distorted proportions or appear in place of human heads, often rendered to absurd and unmanageable scales. One particular piece features an oversized carburetor scoop so large that it renders the act of driving itself impossible, serving as a metaphor for the destructive and impractical nature of unchecked male ego.

Beyond the exploration of masculinity, Quilty also directs his critical gaze toward institutional authority. This is exemplified by a carved figure of the Virgin Mary, constructed from alternating layers of leather and plywood. These materials are deliberately chosen for their historical association with straps used for punishing children in church schools, thereby transforming a universally recognized religious icon. The figure becomes an ambiguous representation, embodying elements of comfort, complicity, and violence simultaneously. Throughout 'Devil/God,' Quilty deliberately resists creating easy distinctions between victim and perpetrator, or between beauty and brutality. Beneath the surface of his slashing brushstrokes, mutated bodies, and menacing forms, viewers can discern flashes of tenderness and innocence. This juxtaposition positions Quilty's work in a liminal space, existing somewhere between raw anger and profound empathy, reflecting the complex emotional landscape of contemporary societal challenges. The exhibition 'Devil/God' is currently on view at albertz benda in New York.