Fall Down, Part Five

War breaks out, and all hope is lost. This painting represents the World Wars, specifically World War I. The primary influence for this piece is German Expressionism. Since discovering this movement, it has greatly impacted my artistic process, and before starting this series, I knew I wanted to dedicate a painting to this style. And what better piece to use it for than Corruption? This painting marks the true beginning of the end, depicting the culmination of the Manz’ own self-destructive behavior.

German Expressionism, which emerged in Germany in the 1920s after the end of World War I, was born out of the trauma and devastation the country endured. Germany, held morally and financially responsible for the war, was left in ruins, unable to rebuild. The streets were littered with rubble, and its people, scarred by the conflict, struggled to heal. The environment itself became a constant reminder of the pain and suffering caused by the war. With little to no support from the rest of the world, Germany turned to film as a way to generate income. However, the lack of resources forced filmmakers to be creative, leading to the development of a new genre characterized by abstract forms and intense emotional expression. This approach focused more on evoking emotional responses than on realism, which had dominated filmmaking at the time. It was revolutionary and incredibly effective. Some of the most famous films from this period—Nosferatu, The Cabinet of Dr. Caligari, and Metropolis—featured dark, otherworldly imagery, often centered on monstrous figures. These monsters were tall, angular, and inhuman, yet they possessed human qualities, with the most prominent being their desire for love. This desire is particularly evident in Nosferatu and The Cabinet of Dr. Caligari, where the monsters are victims of their environments, shaped by the war-torn world around them. They symbolize the pain and suffering of the German people in the aftermath of World War I, and their existence is, in part, what led to the outbreak of the Second World War.

I wanted to capture this pain in Corruption—and to do so, I drew upon the themes and stylistic elements of German Expressionism. A contemporary example that embodies this style is Tim Burton’s work, which is heavily influenced by German Expressionism. I could dive deeper into how this movement has shaped both my art and myself, but that’s a topic for another post!

In Corruption, the painting depicts towering, abstract structures, their sharp shapes and face-like windows reflecting the hallmarks of German Expressionist art. On each side of the composition, there are two empires, each locked in battle. The Manz society has advanced technologically, but peace is always fleeting in their world, driven by self-righteous greed and ambition. I want to be clear that I do not intend for this description to reflect my views on any specific historical events. I recognize that wars are deeply complex, and countless lives have been lost in the pursuit of causes people believe in. This is simply the thematic backdrop I used to depict the personal downfall of the Manz. I believe we can all agree that war was, in some ways, inevitable. It had been brewing for a long time, and eventually, it could no longer be avoided. The technological advancements of the Manz enabled the creation of weapons of mass destruction, and both empires were poised, waiting for the other to strike. Eventually, the conflict escalated, forcing young Manz to fight, and countless innocent lives were lost. The 10% remained safely in their towers, while the citizens suffered below. It is never the elites who bear the brunt of war—it is always the people.

I’m reminded of a scene from M*A*S*H*, a show that played a significant role in my childhood. While it was a sitcom, it offered serious commentary on the Korean War. In one particular scene, Hawkeye, a surgeon working in a mobile hospital unit, confronts a group of generals who are discussing the continuation of the war. Covered in blood, Hawkeye rants at them, accusing them of ignorance and callousness as they discuss the ongoing loss of life. He points out that the soldiers, both on his side and the enemy’s, are dying because the leaders refuse to make peace. It’s a powerful moment, highlighting the tragic consequences of war and the willful ignorance of those in power. This theme of chosen ignorance is one I explored in my painting, where the higher-ups in the conflict are depicted as unwilling to confront the consequences of their actions.

In Corruption, I painted large tissue-like creatures that hide the bodies of fallen Manz, all of whom are denied proper burial. These tissue creatures have faces, a reference to the ghostly sheet that often symbolizes death. However, even these ghostly figures are not safe, as War Bombers—monstrous creations of destruction—attempt to destroy them as well. The War Bombers are perhaps my favorite creatures to have conceptualized for this painting, as they allowed me to channel the influences of German Expressionism. The faces of the War Bombers are reminiscent of the golden structures from my previous painting, symbolizing that their creation was driven by greed and ambition. Their faces are devoid of emotion, their sole purpose being to drop bombs and wreak havoc on the land. One of the War Bombers is shown stepping on a tissue ghost, illustrating their relentless pursuit of destruction.

The landscape they walk upon is a pulverized cityscape, where only a few structures remain intact: the bridges, the empires of both sides, the church, and one solitary home. This home stands in the foreground, where a mournful Manz gazes out the window at the inevitable doom approaching. With no place to go and no other options, the Manz can only wait for their fate to reach them. The one comfort they have left is their home, the place they know and have grown up in, yet they are helpless in the face of destruction. Above them, the sky is a fiery mix of red and purple, as fire and darkness converge in an explosion that signals the collapse of the world the Manz once knew. The war rages on until there is nothing left.

As for the creation of the painting itself, it was an incredibly powerful experience. True to the spirit of German Expressionism, the process was an emotional whirlwind. It was the fastest drawing I completed in the series. I kept the drawing simple, focusing mainly on the forms and shapes rather than intricate details. This allowed the effect of chaos to come through more strongly in the colors and the painting itself. I made sure to keep my hand movements loose and free while painting, which helped convey the chaotic energy of the scene. This is, by far, the busiest painting in the series, filled with destruction at every turn. I worked quickly, keeping the color palette minimal. Early German Expressionist films were shot in black and white, so I desaturated the palette in a similar way, creating a sense of lifelessness, with the most saturated colors reserved for the explosions and the devastation. This was the first time I used black in the series, symbolizing the impending end. Black helped to sharpen the edges of the structures and intensify the shadows, as light and shadow were essential elements of German Expressionism, especially in terms of chiaroscuro. The entire painting is textured and chaotic, further amplifying the energy of destruction.

To highlight the division between the two warring empires, I painted one side in red and the other in blue. While I don’t recall exactly how long it took to finish this piece, I do remember that it was the quickest to complete. But this also made it a fitting lead-up to my final painting: the inevitable Hell.

Thank you for reading the fifth piece of my six-part series, Fall Down! I’m thrilled to share this journey with you, and I hope you’re as excited as I am to see what happens next. Don’t miss out—sign up for my newsletter to stay updated on new content and be the first to know when part six is released!