The people and the behaviour in the illustrations of Bedwyr Williams are instantly recognisable. Just look in the mirror and that is who he is talking about.
He mocks people who are constantly 'honoured,' 'inspired' or 'moved' by the inanities of Instagram. He points the finger at the constantly sycophancy of the art world. He mocks the strange rituals of the art world, its narcissism, its money-grubbing adulation of those who have, and much more beside.
He also talks about class and second-home ownership (he lives in Wales), which are things that almost nobody talks about because being an artist and responsible for homelessness and unaffordable housing is not a comfortable thing to talk about. Or renting someone's holiday home or airbnb, because that's part of the problem too.
It runs close to the bone, and if you don't recognise yourself in there, ha ha ha, who are you kidding?
'I started looking at what artists were going on about on Instagram. I realised there was this really weird fakeness (in their reactions), this blowing smoke up each other’s arses: ‘Love this!’; ‘Hoping to catch the last day of your show!’; ‘Beautifully installed’ - all this hyperbolic praise. Or liking pictures of curators’ children you’ve never met. What’s weird is, I’d never thought of artists as being that way. My experience of artists is to be quite mean. You have to have a fighting personality to do it in the first place. Nobody wanted you to be an artist. It’s either you’re up the arse of a curator or he’s up yours – metaphorically, of course. It’s a competitive world. I know in the back channels they’re as horrible about each other as they ever were. If that’s not ripe for having fun with, I don’t know what is. My thing is that I never make it about actual individuals. There are people I’ve met or who have my worst qualities injected into them. I consider myself no better than them.”