Described by Paul Hobson as an example of 'the techno-sublime', Cheung delivers a very twenty-first century image of the New Jerusalem in this large-scale montage. Created as part of an exhibition entitled ‘The Four Horsemen of the Apocalypse’, in which Cheung also tackled other themes directly lifted from Revelation (including the Four Horsemen themselves), Cheung applied his signature style to the New Jerusalem. In his landscapes, influenced by John Martin among others, Cheung transposes digital landscape imagery onto a base layer of collaged stock-listings newsprint from the Financial Times; he then augments the work with spray paint, oil pastels and ink.
In this image the ‘rivers of bliss’, possibly a reference to the River of Life of Revelation 22:1, sit at the forefront of the image, with the Financial Times stock-listings reflected in them. The waters are enclosed in a rainbow, reminiscent of Revelation 4:3; in the background are scenes of fiery mountains and possibly buildings on fire—perhaps intended to capture the corrosion of capitalism. A lone figure—perhaps a latter-day John—watches from a mountain top.
This is a far more ambiguous New Jerusalem than even John Martin’s work, a long way from the golden pomp of the Trinity Apocalypse’s ordered city vision or the Edenic visualisation presented by the Van Eyck brothers in The Ghent Altarpiece. Although it does present a kind of cleansing, it does not present a fully reassuring vision of the post-apocalyptic future.
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