Comically derived from Friedrich Nietzsche’s Twilight of the Idols, Edric Go presents a series of juxtaposed portraits that actually represents the collective facets of his personality and well, his almost geeky love for old world icons. This is actually humorous, because, Twilight of the Idols,or Götzen-Dämmerung in German as Nietzsche has created it, is a pun on Richard Wagner’s opera Götterdämmerung, or ‘Twilight of the Gods’. This turns out to be dreadfully ironic because Götze is the german word for “idol” or “false god”. Go adds it up by somehow twisting the meaning of idolatry itself into the image of fallen Philippine Cinema icons that further represents the other strands of his intricately-spun web of personas.
With this being the context, Tony Carreon is the artist’s resenting vision of a filthy rich man, and that if it ever happens to him, and he suddenly amasses great wealth of course this would also lead into a change of priorities, or even his own general principles. Hilda Koronel then reflects his other responsible side, the identity that cares about her family and is a sucker for the staple filipino dream of a comfortable, financially stable sort of a life. Weng Weng the ‘small but terrible protagonist, Zuma the stereotype villian, Ramon the dreamer–these mass media-spawned ghosts are the shards that form together the totality of the artist’s personality, as if his simple voyeuristic love for observing these characters from another world separated by radio transmissions has turned into a strange, beautiful obsession.
The results: ejaculated chunks of technicolored images on their unsuspecting portraits.
