A few days ago, the world in general came into contact with the art of Ashton Attzs . This is how the world works here and now: it doesn't matter if you have already worked out a spectacular career start and your work is known to a wide specialized audience. That said: it doesn't matter. Because all you need is for an event like the Brit Awards to arrive and chose you to make its graphic image and... tada! There we go. To be exact, Attzs made the illustrations that animated the official after parties of the British music's great awards. But that was enough and left over so that, suddenly, everyone started talking about Ashton as if there was no tomorrow.
And, at the end of the day, much can be said about the art of this artiste (yes, with protested "e" at the end) that has led the discourse of the non-binary genre towards the mainstream industry of Great Britain and, therefore, of the rest of the world. Best of all, if you don't pay attention, chances are that the revolutionary side of his speech will go totally unnoticed. His illustrations surf that colorful wave of drawings with a childish touch that refer equally to both Keith Haring's dynamism and Mariscal's emotional palette. But, if you stop and look closely at his works... don't you think it's really interesting that most of his characters don't identify as any classic binary genre? Or what is the same: that they can identify themselves fluently with one gender or the other.
There is the masterfulness of Ashton Attzs' art: it is powerfully vindictive without resorting to great gestures. After all, that's what every revolution should consist of, right? Reaching a naturalness that does not make it necessary to underline any kind of speech. Because we have always been taught that a picture is worth a thousand words... and are you able to imagine what will happen if a whole generation of children and teenagers grow up exposed to this type of representation of the non-binary genre within mass art?