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A primal battle erupts in Dogs of War.
In a reinterpretation of Peter Nicolai Arbo’s The Wild Hunt of Odin, Other World questions whether war is an inevitable force of nature. His army of ‘fiends’ hurl across the sky on horseback, weapons raised for destruction. A chariot carrying the crowned figure is pulled into the centre of the scene by dogs – a nod to the animalistic nature of war. As the sun rises, meteors rain down on the terrifying procession, hinting at the presence of a higher power. Meanwhile, the fire-scorched earth below is a reminder of the devastation that arrives with warfare.
The print edition is finished with glow-in-the-dark silkscreen details, allowing another dimension of the scene to come alive at night.
“I ask myself, why am I always drawn to the dark side of life?” This question is one that continues to elude the artist even as his practice evolves and develops. “My art is a continuous story about society and human beings, particularly the darker side of that,” he says. War, violence and suffering surface throughout his oeuvre, albeit in a satirical way, like, for example, in Play Time (2024), when a giant hand holds out a gun to a group of smaller fiends all fighting amongst themselves. It's a scene that packs the juxtaposition typical in Other World's work: old vs new, dark vs light, tragedy vs humour. For his 2024 collection, Visions, Other World intentionally brought a sense of hope into his work. Believe Again (2024), his favourite piece from the collection, is free of violence and has a radiating angel as its central focus, a gentle and welcome reminder to himself and to others that “through all the tragedy there is still hope."
