Daily Shunt art critic, Andrew Moseley, asked you to send in your cute photos of kids’ decorating their Easter Eggs this year so we could compile a list of the six best designs.
Here Moseley casts his expert eye over your entries and announces this year’s winner!
Annie Dorrington’s ‘Eggsited to Be Painting!’
The first thing that strikes you about this image is the stark contrast between anti-humanitarianism and stoicism, the pus-like liquid fermenting in two different colours at the forefront of the image forces the viewer to reflect on their own tarnished soul while the four eggs, each representing the four stages of Christ’s humiliation and blood-letting upon the cross, bring religious doctrine and the contradiction of sin into sharp focus.
Overall a trite and washed out attempt, critical of the plight of the Palestinians but failing to go nearly far enough in either subtext or metaphor.
Jesse and Liv Warrington’s ‘Have a Very Bunny Easter!’
Here we have a typically sanguine offering from the Warrington twins whose yearly entries are increasingly starting to smack of desperation. Fresh out of rehab after a most public fall from grace, the pair have courted controversy throughout the year in a series of (at best) thought provoking installations and (at worst) scatological satires which are far too reliant on causing offence.
This year’s Easter entry is, quite frankly, utter shit. Rarely does it behoove a critic to fall back on such vulgarity but blame, if blame there be, should be placed squarely at the feet of the Warringtons for forcing an extreme reaction with their extremely bad effort.
Ginny Williams and Kirsty Bryant ‘Concentrating Eggstra Hard!’
An egregious, yet fully formed entry with hints of bourgeoisie indifference and a soupcon of danger, dare I even say mortal peril, layered between an undercurrent of hedonism and an overlying membrane of social phlegm.
Colours are bold and intended to force the eye inward toward the focal point, a deep social commentary on the hybrid nature of left/right politics and the insidious political correctness of the so-called Blue Church.
The rather obvious nod to Fidel Castro and communism is a little clumsy, but in all this entry has charm, spirit and just the right amount of parochialism to juxtapose what, to the untrained eye, may seem amateurishly fatalistic.
Gary & Dot Sheffield ‘Making Some Egg-selent Gifts for the Easter Chicken’
Ridiculously partisan in its divisive message, I not only hate this entry with a passion but hate the fact that I must give it third place simply because the message is so important.
The faulty use of inverted narrative within this scene shows just how brutal and urbane the artists are. But at the same time, they highlight sexism and LGBQT issues generally and genuinely, unleashing some hard biting questions society still refuses to answer.
Yes, I say to Gary and Dot! Yes. We are with you in spirit if not in appreciation.
Hannah Willis ‘Mommy I Found Another One!’
Syria remains a big issue and the horrors inflicted upon that country by civil war and geopolitical strife should not be overlooked as they are depicted here, with unflinching detail, in Hannah’s savage discourse.
As she reaches with one hand to snatch the rights of the individual, squats upon the sanctity of the Syrian nation’s historic, cultural and industrial pride and grasps the bucket of injustice, Hannah shows us the imperfections within ourselves. This image holds up a flawed mirror into which we all must gaze.
I have awarded this fascinating, yet troubling image second place only because the composition, which for obvious reasons is loaded heavily toward ambiguity, lacks a certain dynamism in its efforts to remain objective.
Elizabeth Baker ‘An Egg-stra Specially Blue Egg!’
The number one entry this year and I will readily admit this image brought me to tears and to my knees, trembling with unexpected emotion. Never before have I seen such a wide sweeping criticism of Brexit performed with such unabridged refinement.
In one image, the mistakes of a nation are summed up as never before and with a glaring spotlight forced upon the real issue – that of cultural dissension. Here we see the divided horror of social upheaval wallowing in a volcanic mixture of dissonance and hubris. Hyperbolic the message may be, but executed with such sublime delicacy that the interposing aspects meld seamlessly, like fingers interlacing over a tranquil pond under a sky of garnished fuscia.
A deserving win for Elizabeth, who we hope to see more from next year.
She wins a £5 Waterstones gift voucher.