[Creation notes and ruminations I took while designing the ink piece “Apathy of an Idol”, part of a horror mini-series. Read the previous entry here.]
Sloth is simultaneously the most difficult to personify and the most personally incensing of the seven sins. It’s a broader term than the others, for one, encompassing apathy, laziness, ingratitude and wastefulness, all of which are equally “Sloth” but different acts entirely.
Arguably, Sloth could be the worst of the whole lot, as an immeasurable amount of evil has been gotten away with due only to apathy. The idea of evil and misfortune always being “someone else’s problem” is a corrupting one, indeed. I suppose it’s more than fitting, then, that Sloth be an aggravating and slow-going ink piece with little inspiration to run on, isn’t it?
Sloth has no natural expression – you can’t really sense an apathetic or lazy nature on a person’s face, nor does it have the sinister or obsessive shine of the eye that greed or does, or the definitive flame-red of wrath. I guess at best you might get a sense of emptiness from somebody, or a lack of humanity at Sloth’s strongest – a mechanism that functions like a human but just only.
Again, this is something you sense – it’s incredibly challenging to convey the same thing in an artwork. My initial but admittedly boring idea for Sloth was to give the central character and their surroundings an overwhelming sense of sleep and melt, something akin to the dripping clocks of Dali, but with a more grotesque unkemptness fitting with the mini-series’ theme. Strewn garbage and moldy residue would’ve oozed from the world, which sounds fittingly disturbing, but was too similar to the sketch I already had finished for “Gluttony of a Beast”. I feared that the point might be missed if it was as gross as that one, or else they might be confused for each other. Why should the Sloth piece necessarily be an unhygienic wasteland, when you can find apathy even in paradise?
So… after consideration and a full remix of the early sketch, the idea of melt and rot changed into a dystopian atmosphere of luxury – the focal character became an idol or figurehead of such overblown (and totally ambiguous) importance that they no longer are obligated to move their own limbs, as others stand by, ready to do it for them.
I chose a female figure for this piece, as she fit the “idol” tone more, and it evened out the gender disparity with the other pieces (most at the time had ended up being male or androgynous leaning towards male; the only other female one was Envy). I wanted this piece to convey abused privilege and really drive home the evil of such an atmosphere, as the central figure is surrounded by doll-like helpers who in reality may not be there by choice – handmaids in name only. As bad as Sloth is, its worst facet by far is turning a blind eye towards the oppression of others, if not outright condoning it for the sake of laziness. While probably the lightest piece in appearance (especially if it gets a colour version) “Apathy of an Idol” is the darkest in meaning.
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