War scenes: The Aftermath

One of my toughest works, mainly due to the intricate details and animation. I wanted to enhance it further, but constant crashes and lag made it a battle. It was meant for my exhibition but didn’t cut. While I was out supporting @ at her cinema show, I left it rendering at home. I hope you like it.

Today's art is about war—not the act of war itself, but the aftermath. The desolation of cities reduced to rubble, the displacement of families, and the soldiers left with nothing but PTSD. It also highlights the harsh reality that while many suffer, war often makes a certain demographic richer in the process.

The first piece, Desolate Streets, captures the emptiness left behind after war. Crumbling buildings, silent roads—what was once full of life is now a graveyard of memories. It speaks to the loss that lingers long after the conflict has ended.

The second, The Rich Benefiting, contrasts sharply with this devastation. It portrays those who remain untouched by war’s horrors, sitting in luxury while profiting from destruction. These are the war profiteers—the ones for whom war is not a tragedy, but an opportunity.

The third, A Soldier with PTSD, shifts the focus to the unseen wounds of war. This piece presents a soldier back home, trapped in a battle within his own mind. Though physically removed from the warzone, the trauma follows him. His home is no longer a place of peace, but a battleground of memories.

Finally, The General in His Office exposes the distant hand that moves the pieces of war. Strategy, power, control—decisions made in safety, while others suffer the consequences. It represents the disconnect between those who wage war and those who fight it.

This series was created in honor of Canadian Veterans Art Day, hosted at The Gallery George. The European themes in my scenes and elements allude to Canada’s deep-rooted ties to the English monarchy. But metaphorically, this isn't just about past wars—it’s about the ongoing conflicts in places like Congo, Syria, and beyond.

During the exhibition, I had the honor of speaking with veteran artist Roger Chabot. It was an exciting and deeply moving conversation. He shared how his work seeks to capture the raw emotions of war—the truth behind the faces of soldiers. One of his paintings, for example, depicts the flood of the Canadian army, while another reveals the despair etched onto soldiers' expressions. He also shared painful memories of Somalia, ones he said were not worth reliving, yet they remain part of the collective experience of war. These stories, he noted, push humanity toward a more advanced sense of growth.

As we talked about war’s impact on people, he said something that stuck with me:

“Humans always need a reason to push. Some of these soldiers were once just Liberians, sons of farmers, but war gave them a sense of title or a bigger achievement.”

Yet, ironically, many of these men prefer not to speak of these so-called honors.

We then shifted the conversation to present-day art and its interpretation of past experiences. He admitted that sometimes war art can feel glorified, even a bit corny—something I, too, strive to avoid in my work.

Not to flatter him, but I told him that his art struck me the most. His ability to capture both the pain and the truth of war aligns deeply with what I aim to convey.

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War scenes

One of my toughest works, mainly due to the intricate details and animation. I wanted to enhance it further, but constant crashes and lag made it a battle. It was meant for my exhibition but didn’t cut. While I was out supporting @ at her cinema show, I left it rendering at home. I hope you like it.

My solo exhibition, Goshen, is on March 3, 2025, from 7–9 PM at The George Gallery.

(All art, animation & edits by me.)