God 

Editor: Here we have Sue Coe’s ink drawing entitled "God." It's… striking. The visual juxtaposition of religious iconography with symbols of war and power is unsettling. The text surrounding the scene, "God is only on our side," adds another layer of complexity. What can you tell us about this piece and how it functions as a form of social commentary? Curator: Coe’s work frequently tackles uncomfortable truths about power structures, often through visceral imagery. The artist aims to reveal the darker aspects of social, political, and economic systems. "God" seems to be particularly critical of the intersection of religion and nationalism, don't you think? Notice how the crowd, the preacher, even the bombs, are rendered with caricature. Editor: I see that now. So, it's less about representing reality and more about exaggerating aspects of it to make a point about the public’s complicity? Curator: Exactly. Coe utilizes a style reminiscent of social realism, amplifying specific features of modernism in general. It is particularly to question authority and challenge the established narratives within institutional spaces. She places the viewer in the uncomfortable position of observer within this spectacle. Do you find yourself questioning your own potential biases while viewing this drawing? Editor: Definitely. It's hard not to see the critique of blindly following ideologies, especially considering the global implications of conflating religion and politics. Thanks, this has helped clarify Coe’s intentions and the sociopolitical context significantly. Curator: My pleasure. Reflecting on the artist’s role in highlighting such uncomfortable themes reminds us how potent visual art can be as a tool for social dialogue and perhaps change.