The George Dubya Series

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SYNOPSIS OF ARTWORKS

All artworks are mixed-media constructions-many encourage viewer-participation. New media is incorporated into the work by utilizing toys, games, gadgets, kinetics, motion detectors, sound and light. I juxtapose playful gadgets against serious content.

“America Voted 2004 … Into Theocracy”

Mixed-media drawing/collage, © 2004, 12″(h) x 36″(w)

Democracy turns into theocracy under the regime of George Dubya Bush. Bush the shepherd leads the flocks of voters. Hidden words and symbols reveal the fundamentalist agenda.


Front

Detail

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“War, What’s It Good For? (Absolutely Nothing)”
Mixed media Interactive Construction/Assemblage 3′4″ (h) x 2′5″ (w) x 2′5″ (d)copyright 2004-2006 Glorifying and justifying war leads to the recruitment of “G.I. Joe’s.” This sculpture depicts the horrors of war. The unprovoked invasion of Iraq by the Bush administration has lead to the senseless, unnecessary and wasteful loss and destruction of the lives of our soldiers. War itself is a crime against humanity.

“Oh Well, War is Peace”
Mixed-media kinetic light and sound construction © 2004
5′10″ (h) x 3′6″ (w) x 4′ (d)
With Dubya as president we may be in permanent war. This is a major sculpture on which Worthington spent over 2 years in the process of creating. In a chilling parallel of George Orwell’s 1984, Worthington explore the events and associations leading up to and surrounds the wars in Afghanistan and Iraq. To the tune of “Disco Inferno” and with bombs blasting, Bush and Blair arrogantly rock and roll through these two countries. Orwell-”War is Peace”. Around the other side of the artwork, Worthington creates a contemplative environment-complete with a seat built into the sculpture for the viewer/participant to physically and emotionally connect to the scene: 9/11. Why did it happen? Who was responsible? What are its monumental effects on the American society and psyche? Orwell: “War Is Peace, Freedom is Slavery, Ignorance is Strength.”

“The Nativity”
Illuminated mixed-media wall relief © 2004
2′5″ (h) x 21″ (w) x 6″ (d)

“The Nativity” examines the use of religion as a pretext for war. How many wars have been fought in the name of one religion or another? The artwork is a parody of the “Holy” Nativity scene with Mother Mary played by Saddam Hussein, Father Joseph played by Osama bin Laden, the Baby Jesus played by George Dubya Bush. The scene is complete with straw, and various animals. The family that prays together stays together.

“Atomic Diner”
Mixed-media assemblage with sound and movement © 2003
2′6″ (h) x 3′ (w) x 1′ (d)

This artwork is a spoof on Bush hosting a July 4th birthday party for America. Through the medium of fast food-hot dogs, burgers, fries, and beer, Dubya is trying to show that he is just a regular guy, when in reality he and his policies (like the tasty food) are toxic to the American people and to America’s world image.
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” Imagine ”
Mixed-media illuminated collage © 2003
16″ (h) x 10″ (w) x 5″ (d)

The artwork expresses a world of BEWARE-DANGER with blood-red color in the margins and words in the collage portion of the artwork say “Keep America afraid and at war.” The title of this work is taken from a John Lennon song about imagining a world of peace between all nations.

“Operation Eternal Flames”
Mixed-media drawing/collage © 2003
10½” (d) (h) 8½”(d)” (w) x ½”(d)

Very much cartoon-like in appearance, this small drawing/collage depicts a scenario in which Dubya is speaking behind a podium (seal on which states “Appointed by the Supreme Court”). In his folksy manner, Duyba asks “Where is the oil for my Texas barbeques? Those against the war are party poopers.” On the flip chat found next to the podium, a globe of the world in in flames and crying “help!”

“Dump Dubya”
Interactive mixed-media construction/assemblage with sound and motion © 2004
2′ (h) x 2′ (w) x 1′ (d)

The final piece of the George Dubya series gives the viewer/participant the symbolic ability to remove Bush from office. Press the lever (toilet handle) and have the satisfaction of flushing Bush. The drawing/collage component of the artwork traces Bush from his shaky (s)election (lasting harm for democracy?) to the end of the road (hopefully for his presidency)-a state of seemingly permanent war and bloodshed.

Sculpture

Road to the White House Mixed-media kinetic construction
7′(h) x 2.5′w) x 5′(d), © 2001

How did Dubya get to the White House? This artwork incorporates a treadmill and a motion-sensitive mooing Texas steer. It is high political satire-comparing George Dubya to a used-car salesman in the way his campaign was conducted. As the viewer-participant approaches the sculpture, the steer will moo loudly-randomly mooing as one moves around the piece. The used-car dealership flags in the central collage are juxtaposed against the American flags flying at the top of the sculpture. Peek around the back of the sculpture-view Bush family nepotism.

Knock Knock, Who’s There?

Mixed-media kinetic construction with sound, © 2002
Center piece: 20″(h) x 18″(w) x 24″(d)
6 panels-each: 60″(h) x 9″(w) x 22″(d)

Knock, Knock Who’s There? is a sardonic artwork based on the popular children’s game. The artwork is complete with a participatory interactive game. The 6 wall-sized panels, representing the Oval Office and surrounding the game, draw viewers into the sculpture, where they are met by White House security. The participant knocks, the man/machine security officer asks “Who’s there?” The participant answers and the machine responds with caustic remarks. The artwork entices participants to ponder the blank outline of a man in the Oval Office: Who is he? What is his agenda? Who does he represent?

Jokers Run Wild

Illuminated kinetic wall relief
16″(h) x 19″(w) x 3″(d), © 2002

As court jesters in “Jokers Run Wild”, members of the Bush cabinet and cronies are caught up in warmongering patriotism. A constant stream of flashing lights and Halloweenish images depict the administration’s sinister attitude of jingoism. These jokers speak their minds. Ashcroft declares, “I hate everybody.” Ridge and Mueller affirm, “I’ll never tell”, Rumsfield exclaims, “Folk you”, Cheney warns “Don’t monkey with me” and Bush utters “Keep America afraid and at war.”

Mickey Mouse & Dubya

Mixed-media kinetic and sound assemblage/construction
40″(h) x 30″9w) x 22″(d), © 2002

In this sculpture, post 9/11, the Bush Administration has enlisted the Disney Corporation to help design airport security systems. Mickey Mouse is the newest warrior in the War Against Terrorism. Push a button to hear the theme tune of the ride around the cultures of the world in Disneyland, “It’s a small, small world.” I have juxtaposed the sweet and innocent world of Disneyland with the sinister world of terrorism and the Bush administration. Who is really responsible for 9/11? Push another button on the sculpture to watch Dubya and Mickey Mouse, hand-in-hand, go round and round on the turntable like a dizzying ride in Fantasyland.

36 Days

Mixed-media wall relief
2′8(h) x 1.5′(w) 3″(d), © 2001

“36 Days” depicts events between Election Day and 36 days later when the U.S. Supreme Court selected/appointed the President. This mixed-media wall-relief juxtaposes headlines from newspapers of the election tug-of-war with renderings of Bush, the victor, looking dumb-struck and saying “Grin and ignore it.” Clown-face watches represent time being manipulated. Bombs depict Worthington’s foreboding premonition that George “Dubya” Bush would take America into war. (Record numbers of people were executed in Texas during Dubya’s tenure as governor-how better to continue his killing rampage than to take America to war(s) during his presidency?) The frame of the wall relief is a collage depicting the protests at Bush’s inauguration in January 2001.

USDA Certified

Mixed-media kinetic construction
6′(h) x 2′(w) x 3′(d), © 2001

“USDA Certified” delves into the disputed certification of the ballots in the first presidential election of the 21st Century (the age of technology?) I have chosen to depict this historic dilemma by juxtaposing the food certification process and the vote certification process-both of which are riddled with confusion and corruption. A highlight of this piece is the incorporation of an electronic voice-changer, reached by climbing a small ladder, where the viewer/participant gives an opinion that is transformed into a robotic machine-like voice. Parts of a grocery shopping cart and plastic food items enhance the center of the artwork where I have made an intricate drawing/collage of Gore and Bush embedded in food. At the bottom of the piece, a motion-activated robotic rat scurries and squeals “Uh, oh….nah, nah, nah, nah, nah.”

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Sculpture

Detail

The Crossing

Mixed-media kinetic construction
5′5(h) x 2′(w) x 3′(d), © 2001

This artwork is a parody on two U.S. presidents named George. George Washington, our first president, and George Dubya Bush, our current president. “The Crossing” is a political satire, based on the famous war painting of George Washington crossing the Delaware, replaced by a cast of characters from the current administration. The sculpture has a nautical theme complete with rubber rats, rope and a large buoy-like object. A light shines on the diorama at the top of the artwork where one can pull the hat on Mr. Potato Head-which makes a foghorn-like sound. It is a comment on the arrogant, yet stupid persona of George Dubya, standing in the boat calling out, “What crossing-where?”

Black Tie & Boots Ball (click click)

Mixed-media wall relief w/electronic kinetics
3′(h) x 2′(w) x 6″(d), © 2001

This is a scene, literally served up on a silver platter, drawn from one of the inaugural balls where we find Dubya showing off his specially made black boots embellished with the U.S. presidential seal. There are nine images of Bush/Hitler. Nein is the German word for no (a symbolic play on words.) (No, he wasn’t elected.) The goose-stepping boot pose of Dubya is reminiscent to me of the Nazi takeover of Germany. The Bush Administration in the name of national security and patriotism is systemically removing human rights and freedoms from Americans. The crystal balls at the bottom of the sculpture are symbolic of “Kristallnacht”, which signified the beginning of the Holocaust. The viewer/participant can hit the crystal balls together to create a click-click sound and generate flashing-red warning lights.

Smokey and The Bush

Mixed-media kinetic assemblage with sound

24″(h) x 14″(w) x 14″(d), © 2003
This artwork is an environmentally-aware exposé of the Bush administration’s commitment to big corporate interests at the expense of the environment. Here, the administration’s solution to preventing forest fires is to cut down the trees. W.W.Dubya.Dumb-cut down the forests to prevent forest fires!!!! Smokey is appalled as he and Dubya stand together in a photo op. When the viewer opens the box and pushes a button, Smokey the Bear reveals all. This small sculpture is complete with cartoon-like dinosaurs-if only they could talk.

Texas Bully I and Texas Bully II

Full-color hand-printed limited-edition prints
24″ x 36″, © 2003

In these anti-war posters I connect Texas oil interests to the invasion of Iraq-with Bush bullying the world. In Texas Bull-y I, images are collaged inside a giant six-shooter gun and holster-depicting the cowboy image of Bush, the gunslinger. In Texas Bull-y II, more images of George Dubya, Texas, oil wells, newspaper headlines screaming “invasion” and “launch the bombers” are collaged inside a big white cowboy hat and huge cowboy boot complete with spur.

” The Texas Bull-Y Triptych ”
Mixed-media construction/assemblage/wall relief © 2003
2′ (h) x 5′ (w) x 5″ (d)

In this anti-war triptych, I connect Texas oil interests to the invasion of Iraq-with Bush bullying the world-declaring preemptive war. In the left panel of Texas Bull-Y, images are collaged inside a giant six-shooter gun and holster-depicting the cowboy image of Bush, the gunslinger. The center panel of Texas Bull-Y depicts Bush preparing the United States for war in Iraq. President Bush is geographically centered in his home state of Texas. Here he greedily prepares for the acquisition of Iraqi oil (Texas east.) In the left panel, more images of George Dubya, Texas, oil wells, newspaper headlines screaming “invasion” and “launch the bombers” are collaged inside a big white cowboy hat and huge cowboy boot and spur-depicting Bush the cowboy.

War and Pieces

Mixed-media wall relief with sound
24″(h) x 26″(w) x 5″(d), © 2003

An anti-war artwork, “War and Pieces” comments on the war on terrorism post 9/11, and the pre-emptive strike on Iraq. A bomb technician, Bush running at full speed, Uncle Sam pointing his finger, Osama Bin Laden pointing his finger, alarms sounding, and exposed bomb-like wires create the high pitch of tension and confusion. Underlying the patriotic call for military enlistment is the enlistment by the terrorists to wage a holy war against the United States. The idea of this pre-emptive strike, a crusade in itself, which was condemned by most of the world’s populations, is deplorable and might unleash the Apocalypse.