Dazzling Delirium

"Dazzling Delirium" is a new series of works by Chase Palmer that is intended to critique hierarchical forms and figures: because humanity is imperfect, so is authority.  Palmer challenges traditional notions of mastery through classical iconography and his own signature illogical burlesque of chaos. Whether his subjects be godly, masculine, artistic, or esteemed, they all crumble from their own imperfections. Drawing inspiration from the inventiveness and humor of Mannerist art, these works present contemporary subjects and themes.
 
Palmer's compositions start as abstract shapes that eventually form into figures with their own personalities and relationships. He injects his own sense of humor and explores conflicting ideals, emphasizing drama in his images. The work "Intersex" was inspired by a sculpture from Pompeii, Satyr Attacking Hermaphrodite” , and by its dynamism where diagonally overpowering another powerful force. "Don't Be So Cruel" draws from Palmer's fascination with Elvis Presley, transforming the iconic image of the singer into a confrontational and conflicting pile of figures. "Pablo-matic" was inspired by a Picasso retrospective that examined misogyny and creativity. Palmer's work depicts Picasso's sexual prowess in an underwhelming manner. "Pygmalion" references the Greek mythological character who fell in love with his own creation, while "Organic Growing Years" portrays a mid-century traditional family with dark backgrounds contrasting with the supernatural glow of the subjects.
 
"A Love Like Ours Is Rare" works as a love serenade, frozen in a moment of devotion between two lovers looking across at each other, while also conjoined together. The artwork "System Stoppers" takes inspiration from Michelangelo's Last Judgement, highlighting his sensitivity in depicting flesh and textiles. Both "Savage Messiah" and "Death and the Maiden" explore traditional, religious themes related to human mortality in a comical way. "Savage Messiah" satirizes the Catholic symbolism of wine as Christ's blood, transforming it into a source of intoxication and revelry. Intoxication may be more consistently enjoyable, despite its fleeting nature. Similarly, "Death and the Maiden" humorously challenges the trope of a young nude female being threatened by death. The maiden cheerfully smiles as a hungry skeleton gnaws at her face.
 
 
"As I still grapple with my reason for conceiving of these images. They came from a subconscious place, where my love for the classical traditions of imagery is kept" says Palmer. "Here, my imagined figures are at their most personal, charged with unabashed sentimentality, love, and devotion."