chungus in oils

Title	Year	Technique	Dimensions (cm)	Current Collection/Exhibition Status
Study in Carmine and Umber	2025	Oil on Panel	25 x 30	Private Collection, Amsterdam
The Grand Chungus of the Canal House	2026	Oil on Canvas	120 x 160	Royal Neo-Chungian Academy
Chungus at the Crossroads	2027	Oil on Linen	100 x 150	Exhibited, "Classical Futures" 2028
Still Life with Chungus and Digital Artifacts	2027	Oil on Canvas	80 x 100	Public Collection, Rotterdam
The Allegory of Viral Propagation	2028	Oil on Copper	50 x 70	Private Collection, Paris
Chungus vs. The Ogre (After Delacroix)	2029	Oil on Canvas	200 x 250	On Loan, RNCA Gallery

The "chungus in oils" series is a collection of paintings by an alumnus of the Royal Neo-Chungian Academy that applies classical oil painting techniques to imagery derived from the popular internet phenomenon known as Big Chungus. These works represent a significant development within the Neo-Chungian School, aiming to elevate contemporary digital cultural artifacts to the status of traditional fine art through meticulous craftsmanship and academic rigor. The series gained international attention for its seemingly paradoxical combination of a transient internet meme and the enduring medium of oil paint, prompting discussions about the nature of iconography, artistic technique, and the evolution of visual culture in the digital age.

Originating in the mid-2020s, concurrently with the establishment of the RNCA, the "chungus in oils" series quickly became a celebrated example of the academy's unique approach to art education and practice. It embodies the RNCA's foundational philosophy, articulated in Alexandra Rothworth's manifesto "On the Integration of Classical Technique and Digital Consciousness," which posits that the profound cultural impact and complex semiotics of digital phenomena, including internet memes, warrant their study and reinterpretation through the lens of traditional artistic mastery. The series is often cited as a prime illustration of how the principles of classical painting, such as composition, color theory, and the handling of light and shadow, can be applied to subjects born entirely within the digital realm, creating new layers of meaning and permanence.

Origins and Conception

The genesis of the "chungus in oils" series is directly tied to the academic environment of the Royal Neo-Chungian Academy in Amsterdam. The artist, who prefers to remain known primarily through their work within the Neo-Chungian context rather than personal celebrity, was among the first cohort of students at the RNCA, enrolling shortly after its founding in 2020. Their studies immersed them in the rigorous curriculum that combines foundational training in classical painting techniques, reminiscent of those practiced during the Dutch Golden Age, with intensive theoretical coursework in digital culture studies and meme historiography.

Inspired by the academy's core tenets and the pervasive influence of the Big Chungus meme in contemporary online spaces, the artist embarked on a thesis project that would directly address the RNCA's mission: to bridge the perceived gap between traditional 'high' art and contemporary 'low' digital culture. The initial works in the "chungus in oils" series emerged from this academic pursuit, intended as a serious artistic exploration rather than mere parody or novelty. The artist's early experiments involved rendering simplified versions of the inflated rabbit figure using traditional underpainting and glazing techniques on small canvas panels. These foundational pieces focused on mastering the translation of pixelated or low-resolution digital images into the rich, textured language of oil paint.

The series rapidly evolved beyond its academic origins. As the artist refined their technique and deepened their theoretical understanding, the works grew in scale and complexity. They began to incorporate more sophisticated compositions, drawing inspiration from art historical precedents while featuring the central figure of Big Chungus. The project resonated strongly within the RNCA faculty and the wider European Chungus Movement, which actively sought to legitimize the artistic and cultural value of meme-based phenomena. The initial public exposure of the series, primarily through RNCA exhibitions and digital reproductions shared online, sparked considerable debate and fascination, quickly propelling "chungus in oils" from an academic exercise to a recognized artistic phenomenon.

Artistic Technique and Methodology

The defining characteristic of the "chungus in oils" series lies in its masterful application of classical oil painting techniques to its unconventional subject matter. The artist employs methods that would be familiar to painters from centuries past, including careful preparation of supports, traditional pigment grinding (often utilizing the resources of the RNCA's advanced pigment laboratory), and the build-up of images through layers of paint and glaze. This deliberate choice of medium and technique is not merely aesthetic; it is a core conceptual element of the series, imbuing the transient digital image with permanence and the weight of art historical tradition.

Techniques commonly observed in the series include detailed underpainting, often executed in monochrome or limited color palettes, to establish form, volume, and composition before the application of color. Glazing, the application of thin, transparent layers of paint, is used extensively to achieve depth, luminosity, and subtle color transitions, giving the subject a richness and tactile quality typically absent in digital representations. Some works also incorporate impasto, the application of thick paint, to create texture and emphasize certain areas, such as the contours of the figure or elements of the background. The handling of light and shadow is particularly notable, with the artist often employing chiaroscuro or sfumato-like effects to render the figure with a sense of three-dimensionality and presence that echoes classical portraiture.

The choice of oil paint itself is central to the series' meaning. Unlike digital images, which are infinitely reproducible and exist as data, an oil painting is a unique, physical object with a tangible history of its creation. The slow drying time of oils allows for blending and manipulation over extended periods, a process that contrasts sharply with the instantaneous nature of digital image creation and dissemination. By rendering Big Chungus in this enduring medium, the artist forces a reconsideration of the meme's status, transforming it from a fleeting viral moment into a subject worthy of the painstaking, time-honored practices of the atelier. This technical rigor serves to validate the subject matter, arguing that the cultural significance of internet phenomena is such that they deserve the same level of artistic attention previously reserved for religious figures, historical events, or aristocratic portraits.

Selected Works and Thematic Variations

The "chungus in oils" series encompasses a diverse range of works, varying in size, composition, and thematic focus, yet all united by the central figure and the application of traditional techniques. While the core subject is always the inflated rabbit figure derived from the 1941 cartoon frame, the artist explores numerous interpretations and settings, often referencing specific meme formats or broader cultural contexts.

One early, critically acclaimed piece, "Study in Carmine and Umber," is a relatively small panel focusing solely on the face of the figure, rendered with intense detail using a limited palette. This work highlights the artist's technical skill in capturing subtle variations in form and expression through light and shadow, reminiscent of anatomical studies or portraiture sketches by Old Masters.

A larger, more ambitious work, "The Grand Chungus of the Canal House," depicts the figure seated in an opulent interior that strongly resembles the historic canal house housing the Royal Neo-Chungian Academy itself. This painting employs complex perspective and rich, layered colors, placing the digital icon within a setting steeped in art historical significance. The figure is rendered with a gravity and solemnity that contrasts with the character's origin as a comedic caricature, inviting viewers to contemplate the unexpected dignity conferred by the artistic treatment.

Other notable works include "Chungus at the Crossroads," which places the figure in a landscape evocative of classical mythology or allegory, and "Still Life with Chungus and Digital Artifacts," a composition that integrates traditional still-life elements (such as fruit or drapery) with representations of digital glitches or interfaces, exploring the tension between the physical and the virtual realms. The series also includes works that directly engage with the meme's viral history, such as depictions referencing the fabricated PlayStation 4 game case or the "Big Chungus vs. Shrek Ultimate Battle," albeit rendered with the formal seriousness of historical battle paintings or religious murals.

Thematic variations within the series often comment on the nature of fame, the ephemeral quality of internet culture, the process of cultural transmission, and the unexpected ways meaning accrues around digital objects. The artist frequently employs symbolism, both traditional and contemporary, to enrich the narratives suggested by the compositions. For instance, certain paintings might include subtle references to Dutch vanitas paintings, incorporating elements like wilting flowers or skulls to muse on the transient nature of online trends, juxtaposed with the enduring physicality of the painting itself.

This table provides a glimpse into the scope and progression of the series, showcasing the artist's evolving engagement with different formats and conceptual approaches while maintaining the core focus on classical technique and digital subject matter.

Thematic Content and Interpretation

The thematic depth of the "chungus in oils" series extends far beyond a simple artistic rendition of a meme. The artist utilizes the familiar and often absurd image of Big Chungus as a vehicle for exploring complex ideas about contemporary culture, art history, and the human condition in the digital age. A central theme is the concept of ephemeral iconography in contemporary art – the idea that figures and images born in the fleeting, constantly evolving landscape of the internet can attain a form of iconic status and become subjects worthy of serious artistic contemplation. By rendering Big Chungus with the same care and respect traditionally afforded to religious icons or historical figures, the artist prompts viewers to consider what constitutes cultural significance in the 21st century.

The series also serves as a commentary on the nature of art itself and the historical divide between 'high' and 'low' culture. By applying techniques associated with centuries of artistic tradition to a subject originating from a mass-produced cartoon frame and amplified through viral internet dissemination, the artist challenges conventional hierarchies. This approach aligns closely with the principles of post-modern internet humor, which often derives its effect from the juxtaposition of disparate elements and the blurring of boundaries between the serious and the absurd, the original and the derivative. The paintings invite viewers to question why certain subjects are deemed worthy of artistic representation while others are dismissed as trivial, suggesting that cultural impact and resonance, regardless of origin, are valid criteria for artistic engagement.

Another significant theme is the tension between permanence and transience. The enduring nature of oil paint on canvas stands in stark contrast to the fleeting existence of a viral meme, which can surge in popularity and then rapidly fade from collective memory. By immortalizing Big Chungus in oil, the artist grants the figure a physical presence and longevity that it lacks in its native digital environment. This act can be interpreted as an attempt to capture and preserve aspects of digital culture, providing a tangible record of online phenomena that are otherwise difficult to archive or experience outside of their original context. The works thus become artifacts of a specific moment in digital history, rendered through the techniques of physical art history.

The series also explores themes of nostalgia, identity, and community in the digital age. For many viewers, Big Chungus is associated with a particular era of internet culture and the communities that formed around it. The paintings tap into this collective memory, evoking a sense of shared experience and cultural belonging among those familiar with the meme. By presenting the figure with unexpected gravitas or placing it in historical settings, the artist creates a dialogue between personal or subcultural digital histories and the grand narratives of art history, suggesting that both contribute to the complex tapestry of contemporary identity. The works encourage reflection on how digital spaces and the content generated within them shape our understanding of ourselves and our place in the world.

Critical Reception

The "chungus in oils" series has generated considerable discussion among art critics, cultural theorists, and commentators on internet culture since its emergence. Initial reactions were often characterized by surprise and, in some cases, skepticism, given the subject matter's origins. However, as the technical mastery and conceptual depth of the works became apparent, critical perspectives largely shifted towards appreciation and academic interest. The series is now widely regarded as a significant contribution to contemporary art and a key example of the possibilities inherent in the Neo-Chungian approach.

Art critics have praised the artist's exceptional skill in handling oil paint, noting the luminous quality of the glazes, the convincing rendering of form, and the sophisticated use of color palettes. Many reviews have highlighted the unexpected beauty and presence the artist manages to evoke from the inherently cartoony figure. Writing in "Temporal Artistic Convergence," the leading journal in classical-digital artistic synthesis published by the RNCA, Professor Isabella van der Meer noted:

The 'chungus in oils' series stands as a testament to the enduring power of classical technique. What could easily be dismissed as a mere novelty is transformed through meticulous application of sfumato and glazing into forms possessing genuine weight and volume. The artist does not simply paint a meme; they sculpt it with light and shadow, granting it a material reality that forces the viewer to engage with it not just as a fleeting image, but as a subject capable of bearing artistic scrutiny and emotional resonance. This work exemplifies the core principle of the Neo-Chungian School: that the mastery of historical craft provides the most potent means of interpreting the complexities of our digital present.

Cultural theorists have focused on the series' implications for understanding the intersection of online and offline culture, the dynamics of viral content propagation within artistic contexts, and the evolving nature of authorship and ownership in the age of remixes and digital appropriation. Commentators on internet culture have celebrated the series as a validation of meme culture's cultural significance, viewing it as a humorous yet profound acknowledgment of the impact these phenomena have on contemporary consciousness. The series is often discussed in analyses of digital culture evolution, illustrating how online trends can migrate into and influence traditional cultural domains.

While the reception has been largely positive, some critics have raised questions about the potential for the work to be misinterpreted as purely ironic or novelty-driven. However, proponents argue that the sheer technical effort and the artist's consistent conceptual framework elevate the series beyond simple irony, positioning it instead as a form of post-ironic engagement that is sincere in its artistic intent while acknowledging the absurdity inherent in its subject matter. The debate surrounding the series has itself contributed to its prominence, fostering deeper engagement with its themes and techniques.

Cultural Impact and Legacy

The "chungus in oils" series has exerted a notable cultural impact, influencing both the art world and the broader conversation surrounding internet culture. Within the art world, it has served as a prominent example of the Neo-Chungian School, demonstrating the viability and artistic merit of applying classical techniques to contemporary digital subjects. Its success has encouraged other artists and institutions to explore similar avenues, contributing to a growing movement that seeks to integrate online phenomena into traditional artistic practice. The series has been featured in major exhibitions, including the Royal Neo-Chungian Academy's annual "Classical Futures" event, which has become a key platform for showcasing works at the intersection of classical technique and digital expression.

The series' cultural impact extends beyond the confines of traditional galleries and academic institutions. Reproductions of the works have circulated widely online, re-entering the digital space from which their subject originated. This creates a fascinating feedback loop, where a digital image is translated into a physical painting using centuries-old methods, and then digitized again to be consumed back online, often within the very meme communities that inspired it. This cyclical movement highlights the porous boundaries between the physical and digital realms in contemporary culture.

The "chungus in oils" series has also contributed to the ongoing discourse about the legitimacy and cultural value of internet memes. By treating Big Chungus with the formal seriousness of traditional portraiture or allegory, the artist implicitly argues for the subject's cultural significance. This has resonated with online communities, who often see the series as an unexpected validation of their shared cultural experiences. The series is frequently referenced in discussions about digital culture evolution and the ways in which online phenomena can transcend their initial context to influence broader cultural landscapes.

Furthermore, the series has sparked conversations about intellectual property and creative ownership in the digital age. While the original image of the inflated rabbit is derived from a commercial cartoon, its transformation into the "Big Chungus" meme involved widespread, decentralized adaptation and reinterpretation by internet users. The "chungus in oils" series adds another layer to this complex ownership landscape, as a unique, physically created artwork based on a widely shared, collaboratively evolved digital artifact. This raises interesting questions about authorship, appropriation, and the value created through artistic transformation across different media and cultural contexts. The legacy of "chungus in oils" appears secure as a landmark series that successfully bridged the divide between classical art and contemporary internet culture, proving that even the most transient digital phenomena can become subjects of enduring artistic value.

Exhibitions and Collections

Works from the "chungus in oils" series have been exhibited internationally, appearing in both dedicated Neo-Chungian showcases and broader contemporary art exhibitions. The Royal Neo-Chungian Academy has played a crucial role in promoting the series, featuring it prominently in its own gallery space and including pieces in its annual "Classical Futures" exhibition, which draws significant attention from the international art world. These exhibitions often contextualize the works within the history of both classical painting and digital culture, providing viewers with the necessary background to appreciate the series' conceptual underpinnings and technical execution.

Beyond the RNCA, individual pieces from the series have been shown in galleries and museums across Europe and North America. Notable exhibitions have included group shows focused on art and technology, post-digital art, and the reinterpretation of popular culture in contemporary painting. For instance, "Chungus at the Crossroads" was featured in a major exhibition on contemporary allegorical painting in Berlin, while "Still Life with Chungus and Digital Artifacts" was part of a survey show on modern still life in New York.

The series has also attracted interest from both private collectors and public institutions. Several key works are held in private collections across Europe, particularly in the Netherlands, reflecting the series' origins and its connection to Dutch artistic heritage. Public institutions have also acquired pieces, recognizing their significance as examples of the integration of digital culture into traditional artistic practice and their role in documenting the evolution of contemporary iconography. The acquisition of "Still Life with Chungus and Digital Artifacts" by a major municipal museum in Rotterdam, for example, signaled a significant institutional validation of the series' artistic merit and cultural relevance. The presence of "The Grand Chungus of the Canal House" in the permanent collection of the Royal Neo-Chungian Academy itself underscores its foundational importance to the institution and the Neo-Chungian School.

The exhibition history of "chungus in oils" reflects its journey from an academic project to a recognized force in the contemporary art world. Its inclusion in diverse exhibition contexts, ranging from specialized Neo-Chungian shows to broader surveys of contemporary painting and art and technology, highlights its multifaceted appeal and its capacity to engage different audiences and critical perspectives. This broad exposure has been instrumental in cementing the series' place in the discourse surrounding art in the digital age.

The Creator

The artist behind the "chungus in oils" series is a distinguished alumnus of the Royal Neo-Chungian Academy, whose work is considered a quintessential expression of the Neo-Chungian School's principles. While the artist maintains a degree of privacy regarding their personal identity, preferring the focus to remain on the work itself and its conceptual framework, their artistic background and philosophy are well-documented within academic circles and RNCA publications.

The artist's education at the RNCA provided a unique foundation, blending rigorous training in traditional oil painting techniques with deep engagement with contemporary digital culture. This dual focus is evident in every aspect of the "chungus in oils" series, from the choice of medium and technique to the thematic content and conceptual approach. The artist's thesis project at the RNCA formed the initial basis for the series, developed under the guidance of faculty members specializing in both classical methods and digital theory, such as Professor Isabella van der Meer, known for her work on applying sfumato to digital imagery.

The artist's philosophy centers on the belief that all forms of human expression, regardless of their origin or initial context, possess the potential for artistic transformation and critical engagement. They view internet memes not as trivial or meaningless phenomena, but as powerful carriers of cultural meaning, identity, and collective experience in the 21st century. Their work is driven by a desire to explore what happens when these ephemeral digital artifacts are subjected to the enduring processes and materials of traditional art, revealing new layers of meaning and challenging conventional notions of artistic value.

In a rare public statement included in the catalogue for the "Classical Futures" exhibition in 2028, the artist articulated their perspective:

The canvas is a historical space, layered with the intentions of countless artists who sought to capture the essence of their time. When I bring the figure of Chungus to this space, rendered in the very same oils and pigments used by masters centuries ago, I am not mocking the past or the present. I am exploring continuity. I am asking what endures, what translates, what new truths emerge when the fleeting image from the glowing screen meets the tangible surface built up layer by layer over weeks or months. It is a conversation between epochs, mediated by the simple, profound act of painting.

This statement encapsulates the artist's approach: a serious, exploratory dialogue between different historical and cultural moments, facilitated by technical mastery and a deep respect for both the chosen subject matter and the artistic tradition it is placed within. The artist's commitment to technical excellence and conceptual rigor has established them as a leading figure within the Neo-Chungian School and a key voice in contemporary art's engagement with digital culture.

Relationship to the Neo-Chungian School

The "chungus in oils" series is not merely a product of the Neo-Chungian School; it is arguably its most iconic and widely recognized output. The series embodies the core tenets and aesthetic principles that define the movement, serving as a practical demonstration of its theoretical foundations. The Neo-Chungian School, which emerged in the early 2020s, advocates for the integration of classical artistic techniques with subjects and themes derived from contemporary digital culture, particularly internet memes and viral phenomena.

The "chungus in oils" series exemplifies this integration by applying the meticulous, time-consuming methods of traditional oil painting, including glazing, underpainting, and careful pigment selection – techniques central to the RNCA's curriculum – to the figure of Big Chungus, a quintessential example of modern internet iconography. This fusion of old and new is precisely what the Neo-Chungian School champions, viewing classical technique not as an end in itself, but as a powerful tool for interpreting and recontextualizing the visual landscape of the 21st century. The series demonstrates that technical mastery, honed through the study of historical methods, can grant gravitas and depth to subjects that might otherwise be dismissed as superficial or transient.

Furthermore, the thematic content of the "chungus in oils" series aligns perfectly with the intellectual concerns of the Neo-Chungian School. The series explores the nature of iconography in the digital age, the relationship between permanence and transience, the blurring of boundaries between 'high' and 'low' culture, and the ways in which digital phenomena shape collective memory and identity. These are central themes within Neo-Chungian academic research and artistic practice, as evidenced by the curriculum at the Royal Neo-Chungian Academy and the publications emanating from the school, such as "Temporal Artistic Convergence."

The success and visibility of the "chungus in oils" series have played a significant role in legitimizing the Neo-Chungian School in the eyes of the broader art world and academic community. The critical acclaim garnered by the series has drawn attention to the school's unique approach and its potential to offer fresh perspectives on contemporary art and culture. It serves as a compelling case study for the school's argument that digital culture is a rich and complex field worthy of serious artistic and academic engagement, and that traditional techniques remain relevant and powerful tools for navigating this new landscape. In essence, "chungus in oils" is both a product and a defining symbol of the Neo-Chungian movement.