The justification for a relational satire within contemporary painting. Championing altermodernity's creolized, archipelagic direct

My project argues for the resurgence of satire through the specifity of contemporary painting, under the auspices of altermodernity. The humanist principles of equality and equity drive this exegesis. The universal language of a relational satire is consumed daily through the glut of mass media. My exploration aims to clarify fundamental formal and abstract notions of the nature, function, and significance of satire within its pluralistic complexity. To realize these aims, I introduce and develop methodological frameworks to clarify concepts related to satire, that focus less on advocating that it changes individual and world opinion, and more upon how individuals endure dysfunctionality through satire. Altermodernism's universality is advocated above postmodernism's colonial west relativism. Altermodernism acts as a moral compass for painting as satire that can be observed to be an advancement of the contextual, relational dependency of meaning. Altermodernity has interspersed into units of oppositional ideology, a world of disrupted attitudes and threatened identities attempting to navigate a world in permacrisis; satire requires a re-examination in this context. Permacrisis describes a world of system dysfunction defined as an extended period of instability and insecurity, and illustrated through dysfunctional world politics, multi-societal inequalities. Painting as satire offers a relational and cathartic conduit for accessibility and readability. Interpretivist ontology, embracing subjectivity, and seeing the world through the eyes of the audience outlines this research project's conceptual framework. I will discuss this project through the altermodern lens of enlightenment, and ethnocentrism, a dialogical approach, emphasizing an ethical disposition informing the painter as autoethnographic catalyst of permacrisis, encompassing an egalitarian disposition.