Capturing Reality: Dameon Priestly’s Art of Social Narrative
D ameon Priestly isn’t just another artist. Rather, he is a storyteller who defies the constraints of time. Through the strokes of his brush, he weaves tales that connect history to the present, the visible to the invisible, and the art to the viewer. To look at a painting by Priestly is to look at our world through a different lens—a lens that challenges us, confronts us, and begs us to question the status quo. Born in the uneasy climate of Belfast in the 1970s, Priestly has come a long way, both geographically and artistically. Dameon Priestly came of age during one of Northern Ireland’s most tumultuous periods of conflict between Catholic and Protestant political interests, known as “The Troubles.” The impression left by the social unrest during his formative years was inevitable. “Even though I haven’t lived in Belfast since 1998, growing up there during those turbulent times shaped me for sure,” he confides. He knew he was meant to be an artist ever since he was very young, and even as chaos unfolded around him, his connection to art provided a constant sense of purpose and escape.
CHRONICLES ON CANVAS It is perhaps no surprise that Priestly’s art “focuses on times and events of social and cultural change, often set in an historical context, but with direct relevance to the present.” His art tells stories—of the marginalized, the forgotten, the heroes, and the villains—always with an eye toward justice. “What interests me is social justice and movements born of social upheaval,” he shares. Priestly takes a journalistic approach to his painting, considering cultural history as the most critical aspect of his art. “The thing that interests me most is getting the facts of the story or subject as accurate as possible, in a visually striking or engaging way. It’s always all about the narrative.” Priestly’s rise to international fame—he counts Spike Lee among his collectors and has created artwork for three of Van Morrison’s albums—hasn’t changed his fundamental approach to his craft. His back catalog, stretching to 2001, bears testament to this consistency. “What I have learned is the confidence of not having to prove my techniques to myself or my audience in order to create a successful piece. I’ve nothing to prove other than my commitment to the subject. My abilities are stronger, simply through constant hard work,” says Priestly. He claims renowned American author John Steinbeck’s gritty aesthetic as an inspiration. Quotes from Steinbeck’s novel “Cannery Row” grace his website, drawing a literary parallel to his visual work. “Cannery Row is simply one of my favorite novels. The beautiful language is something I aspire to create in my visuals. It’s real. Real life and oftentimes, too real. Which I’m naturally drawn to,” he explains. Like Steinbeck, Priestly isn’t one to shy away from difficult or controversial topics. “Not all art can or should be purely decorative. Some art should ask the viewers to fully engage with it…even if it’s about things you’d rather not think about,” he says.
138
Powered by FlippingBook