Good and Evil Art
The 23 paintings within the Good and Evil series represent Ffyffe’s exploration of the challenges facing humanity with most of the works completed during the 1980’s.
There is a gothic feel about much of Ffyffe’s work from the 1980’s. Goyaesque characters abound, caped and masked, intent on brutality and desecration. The Witch Bride shows the groom, a smug grim reaper leading his bride down the aisle. For a struggling artist, desolation and defeat loomed as an ever-present threat.
1992 Ffyffe said “The paintings are my response to what I perceive as the spiritual malaise that has beset society. The prevailing occupation with false values results in the fragmentation of individuals and generates anxiety, discontent and the catalogue of ills with which we are so familiar – the problems of drug addiction, child abuse, rape, abortion, homelessness etc.”
The Good and Evil series also includes the seminal piece Warehouse A (1995) which was Ffyffe’s response to the Bosnian genocide. It is a distressing and confronting painting, reminding humanity of the brutal end-game of dehumanisation
The 8ft-long painting was seen by David Lee, editor of Art Review. He said ”For me it was a painting which symbolised everything that has been wrong with this century. It stands for all sorts of conflicts, some still going on now, and shows the sad condition we are in.” It featured on the front cover of the Millenium edition of Art Review (2000) magazine, which also carried a full-page feature on Ffyffe.
In 1992 Ffyffe said “The paintings are my response to what I perceive as the spiritual malaise that has beset society. The prevailing occupation with false values results in the fragmentation of individuals and generates anxiety, discontent and the catalogue of ills with which we are so familiar – the problems of drug addiction, child abuse, rape, abortion, homelessness etc.”
The Good and Evil series also includes the seminal piece Warehouse A (1995) which was Ffyffe’s response to the Bosnian genocide. It is a distressing and confronting painting, reminding humanity of the brutal end-game of dehumanisation
The 8ft-long painting was seen by David Lee, editor of Art Review. He said ”For me it was a painting which symbolised everything that has been wrong with this century. It stands for all sorts of conflicts, some still going on now, and shows the sad condition we are in.” A detail from the painting was produced on the front cover of Millenium edition of Art Review (2000) magazine, which carried a full page feature on Ffyffe.
For details including dimensions and the indicative price of each piece, please click the relevant image.
