Reminiscent of Duchamp’s Nude Descending A Staircase, where movement was represented using visual devices more associated with film than painting, Neel’s Good vs. Evil captures all the violence and frenzy of a dog fight in a way that consciously challenges two dimensional form. Rendered as stylised line drawings, Neel’s dogs overlap with cartoon simplicity, their stiffness comically diagrammatic, drafting out the idea of a battle rather than a scene. Instead the action takes place through the feverish gestures of the painted ground where sweaty and bruised black and blues perform turbulent rituals of aggression, trauma and glory.

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