Statues of Fat Black Women Inspire Us All

1,100 words

I couldn’t be more inspired. After I saw the statue of a twelve-foot fat black woman glaring at everyone while her rolls of fat undulated permanently in bronze, I felt like I could go and kick a donkey’s head off its body. That’s how invigorated I was. I’d never felt such elation in my life. If it were up to me, I’d have every single public monument right across the Western world replaced by corpulent negresses yelling at fast food employees immortalized in sculpture. I would like to suggest another masterpiece in the making that is a bit larger: it’s time for a sculptor of vision to create a gigantic building-sized monument to fat black women brawling in an airport baggage area. It would take a craftsman of exceptional skill and grace to incorporate all of the flying wigs and weaves into the memorial. We must commemorate these historical watershed moments forever before our civilization falls to the nadir of white civility.

In all seriousness though, I harken back to Jörg Lanz von Liebenfels who experienced “enlightenment” when he happened upon a stone carving at the Cistercian monastery at Heiligenkreuz as a novitiate. The carving depicted a Templar knight subduing a bestial creature, which inspired his racial theories. He would go on to publish the journal Ostara, form the Order of the New Templars (ONT), and write Theozoology, or The Science of the Sodomite Apelings and the Divine Electron (An introduction to the most ancient and modern philosophy and a justification of the monarchy and the nobility). When I saw the so-called sculpture of a sneering black woman, however, rather than form the New Order of the New Templars (NONT), I was inspired to go outside and light a dumpster on fire. I’m being facetious of course, I would never light anything on fire or purposefully kick a donkey’s head off, but I was disgusted by the prospect of our public spaces being polluted with meaningless subversive black art. I did realize though, that Jörg Lanz was right, we are in a fight to the death with the degenerate beast men with whom we share a living space. It was all very terrifying, really.

The important subject of the desecration of public spaces is at hand. The resentful black man who is responsible for these sculptures in major cities across the world is one Thomas J Price. The biography on his homepage is filled with pseudo-intellectual claptrap that aims to obfuscate the true purpose of his “art” to demoralize the white populace who looks upon his work and despairs. Here is a sampling:

Thomas J Price’s multidisciplinary practice confronts preconceived attitudes towards representation and identity, foregrounding the intrinsic value of the individual and subverting structures of hierarchy. Celebrated for his large-scale figurative sculptures, Price draws our attention to the psychological embodiment of his fictional characters, highlighting nuanced understandings of social signifiers and predetermined value. Amalgamated from multiple sources, the works are developed through a hybrid approach of traditional sculpting and intuitive digital technology. Price balances methods of presentation, material and scale to challenge our expectations and provide cues for deeper human connection. He encompasses historic constructs with a newness that at first glance can go unnoticed, but that live in the public realm as silent totems for change.

This passage, which expresses the need to subvert hierarchies is typical of these types of ethnic artists and their enablers: it’s all about attacking whites and white culture.

There is no doubt that there is a sneering mockery associated with this grotesque monstrosity. Here is what Thomas J. Price had to say about his latest monument to a hideous black woman:

Times Square stands as an iconic symbol and site of convergence, uniting people from all walks of life, individual stories, and experiences intersecting on a global platform. The intention of my public works is to become part of the place they inhabit and its physical, material history, as well as the visitors that pass through and around the location, no matter how fleeting. I hope Grounded in the Stars and Man Series will instigate meaningful connections and bind intimate emotional states that allow for deeper reflection around the human condition and greater cultural diversity.

In his article about Harold Arthur McNeill, Greg Johnson writes “Heidegger said that every artwork evokes a world, and the same is true of a worldview.” The worldview being espoused by black Leftist subversives is therefore nihilistic, grotesque, and ugly. An anonymous writer for Revolver put it this way:

And we’re supposed to believe this is a “subtle nod” to Michelangelo’s David? David was carved with precision, pride, and intention. This? This is a blob in yoga pants with attitude. There’s no grace, no energy, no presence, just the embodiment of how low the bar has been set for what counts as art and empowerment today.

There is no equivalency between Michelangelo’s David and this monument to sloth and ignorance, none whatsoever. One of the positive things about the unveiling of this ugly statue is how much mockery it has generated. The Revolver piece compiled a gallery of some of the best examples.

What is public art for? What is sculpture for? What are monuments for? How is it that the public space is dominated by useless demoralizing art? Our gods, heroes, statesmen, are often commemorated in the public space to serve as reminders of our great cultural inheritance. The subversive nature of the statue that we are focused on today is obvious to me at first glance. It is a grotesque mockery and meant to be an affront to white people. Is it in the anti-white Left’s tactical playbook to use art to demoralize their enemies? Of course it is.

In his essay entitled “High Culture & Patriotic Purpose”, Johnathan Bowden emphasized the need to preserve our historic heroism:

All attempts to remove the country’s heroic racial past—the dismantling of statues to heroes who put down the Indian mutiny, for instance—need to be resisted in a similar manner to the UN’s efforts to prevent the Taliban destroying Buddhist antiquities in Afghanistan.

Bowden goes on to say that statues like Grounded in the Stars should be opposed:

“Censorship” must also be applied to forms which are egalitarian, anti-elitist, “politically incorrect” in their so-called “political correctness,” ultra-liberal liberal, miscegenatory, or scatological pornographic.

 We ought to heed Bowden’s advice to promote our heroic racial past and reject subversive, demoralizing mockeries. The works of Thomas J. Price and his ilk should be rejected and dismissed as nothing but hubristic, non-white triumphalist rubbish that should be mocked at every opportunity.