A table overflowing with excess. A system engineered to contain it. And below—those left to gather what falls.
The Trickle Down Doctrine is a sharp, unapologetic critique of wealth, power, and the narratives that sustain imbalance. At the centre, three feline figures—caricatures of financial authority—sit elevated above the masses, surrounded by abundance. Their posture is relaxed, celebratory, detached. Champagne raised. Cigars lit. The system works—just not for everyone.
The composition is deliberate. Escalators feed wealth upward, looping endlessly into accumulation, while a single funnel releases only fragments below. What reaches the many is not distribution, but residue. Coins scatter. People scramble. The promise of prosperity is reduced to survival.
Below, the human figures bend, search, compete—anonymous and interchangeable. There is no individuality here, only participation in a system that demands effort without return. The contrast is stark: excess versus scarcity, elevation versus submission, control versus dependency.
The handwritten text reinforces the narrative—part manifesto, part confession. It speaks to a collective acceptance of imbalance, a quiet complicity in systems we recognise but continue to uphold. The tone is knowingly cynical, cutting through the polished language of economic theory to reveal something more primitive: accumulation without accountability.
Visually, the piece blends illustration, texture, and painterly depth to create a layered, almost storybook-like aesthetic—disarming at first glance, unsettling on closer inspection. The use of anthropomorphic figures adds distance, allowing the viewer to engage before recognising the reflection.
This is not subtle work. It is direct, uncomfortable, and timely. A piece that challenges not just systems, but the viewer’s place within them.
A table overflowing with excess. A system engineered to contain it. And below—those left to gather what falls.
The Trickle Down Doctrine is a sharp, unapologetic critique of wealth, power, and the narratives that sustain imbalance. At the centre, three feline figures—caricatures of financial authority—sit elevated above the masses, surrounded by abundance. Their posture is relaxed, celebratory, detached. Champagne raised. Cigars lit. The system works—just not for everyone.
The composition is deliberate. Escalators feed wealth upward, looping endlessly into accumulation, while a single funnel releases only fragments below. What reaches the many is not distribution, but residue. Coins scatter. People scramble. The promise of prosperity is reduced to survival.
Below, the human figures bend, search, compete—anonymous and interchangeable. There is no individuality here, only participation in a system that demands effort without return. The contrast is stark: excess versus scarcity, elevation versus submission, control versus dependency.
The handwritten text reinforces the narrative—part manifesto, part confession. It speaks to a collective acceptance of imbalance, a quiet complicity in systems we recognise but continue to uphold. The tone is knowingly cynical, cutting through the polished language of economic theory to reveal something more primitive: accumulation without accountability.
Visually, the piece blends illustration, texture, and painterly depth to create a layered, almost storybook-like aesthetic—disarming at first glance, unsettling on closer inspection. The use of anthropomorphic figures adds distance, allowing the viewer to engage before recognising the reflection.
This is not subtle work. It is direct, uncomfortable, and timely. A piece that challenges not just systems, but the viewer’s place within them.
Product Details:
High-quality giclée print for vibrant colour and detail
Available in multiple sizes to suit your space
Printed on archival-grade paper for long-lasting beauty
Supplied framed or unframed for custom display options
