J.G Ballard, the genre busting English science fiction writer responsible for such novels as The Drowned World, Crash, High Rise and Empire of the Sun as well as some of the finest short stories in world literature, frequently remarked that he really wanted to be a painter in the surrealist tradition that he so loved instead of a writer.
This deep reverence and constant engagement with the visual arts can be most clearly seen in his demented and wildly perverse cult classic collage novel The Atrocity Exhibition. Referencing Ernst, Dali, Magritte, Dominguez, Matta, Bellmer, Delvaux, Tanguy as well as Pop Artists Tom Wesselman and Andy Warhol in the frequent free association tests and ‘condensed novels’ that comprise the text, The Atrocity Exhibition could easily be used as a textbook primer on surrealism and popular culture in the sixties.
In 1990 RE/Search Publications issued an expanded edition with four new stories, Ballard’s bizarre yet illuminating annotations, disturbing illustrations by the medical illustrator/graphic novelist Phoebe Gloeckner and photographs by Ana Barrado of brutalist buildings and weapon ranges. It also features a preface by the Hitman for the Apocalypse himself, William S. Burroughs.
Below are some of the many paintings mentioned in the text, some of which are very well known and others less so.
Quite recently I was researching H.R Giger’s illustrations for De Sade’s Justine when I stumbled across the work of the German artist Sibylle Ruppert. I immediately wondered how I had never heard of her before as I take some pride in being well versed in Surrealistic/Fantastic/Dark Art and here was an exceptional example of the genre, that furthermore took its cues from the masters of transgressive literature: De Sade (of course), Lautreamont and Bataille, all of whom I have written about.
One can only wonder at the vagaries of recognition. Although she did have some influential admirers, namely Alain Robbe-Grillet, Henri Michaux and especially Giger, who owned a large collection of her work (the only major retrospective to date was at the H.R Giger Musuem), the critical and commercial success that other Fantastic artists of the period enjoyed eluded her. Instead she worked quietly away at producing ever more horrific images from hell.
Born in Frankfurt in 1942 in the middle of a bombing raid of the city, Ruppert’s father was a graphic designer. She would sit entranced watching her father draw. One day she seized his hand and said that she would also draw nice colourful pictures like he did. Soon afterwards she presented her first drawing; it was a brutal picture of a fist striking a face. Sibylle was six at the time.
A determined and driven child Sibylle would produce twenty drawings a day as well as studying ballet. Too tall to be a ballerina, she became a revue dancer, touring the world until one day in New York she decided to quit and dedicate herself to art. Sibylle returned for a while to Frankfurt, giving drawing instructions at the art school her father founded, then moved to Paris, where she exhibited for a number of years before resuming teaching.
As well as the literary influences cited above, all of whom she illustrated, visual traces and echoes can be observed of Bosch, Giger, Fuseli, Bellmer, Blake and Bacon, though this doesn’t in any way detract from her singularly visceral and kinetic imagination. In her paintings and drawings the flesh is always in motion; writhing, straining, collapsing, before undergoing the final monstrous transformation. A truly infernal vision that lingers unsettlingly in the mind.