Last September, an artist was hired by the French government to create a giant mural beneath the Eiffel Tower. The artwork took approximately 300 hours of work and was accomplished through the dedication of 10 painters – the artist? Cleon Peterson. 

Peterson is an artist from Los Angelos whose paintings are said to symbolise a “struggle between power and submission in the fluctuating architecture of contemporary society.” Below is a picture of the mural as seen from above via digital medium:

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“Endless Sleep,” a painting that rests beneath the Eiffel Tower as of September 2016.
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מָגֵן דָּוִד; The Star of David.

Upon initial inspection, it is entirely possible to interpret Peterson’s artwork as a representation of overcoming racism, with black and white figures holding the hands of their respective fellows and dancing together around a monochrome couple. But there are a few disturbing hang-ups. For example, the shape itself is akin to the Star of David. The black figures are holding hands over the genitalia of each white figure. The couple in the middle wrapped in a romantic embraced appear to be the source of the dancing figures’ joy. But is this celebration concerned with overcoming racism, or rejoicing over the abolition of native Europeans? Other artwork produced by Peterson has more blatant overtones, and through surveying the context of Peterson’s artistic vision, one can easily understand what the above mural is intended to convey. 

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“Judgment,” (2014).

In this piece by Peterson, the black figures are portrayed as dominant victors massacring white figures, who beg for mercy as they are beheaded and violently disposed of. Labelled “Judgment,” this painting is clearly intended to convey a symbol of racial retribution, ushering forth brutal condemnation upon the white race through merciless evisceration. 

“The Hanging Tree,” (2015).

In “The Hanging Tree,” we witness similar racial tension between the black and white figures, with three of the black figures admiring the result of their handiwork: the lynching of a white man. Meanwhile, two black figures club – or slice, the precise nature of their weapons are dubious – two white figures to death. There are numerous other paintings by Peterson that depict similar and worse gruesome scenarios. Including the desecration of the Statue of Liberty, rape, and the portrayal of white figures as degenerate, self-harming individuals.

Interestingly, Peterson has created such violent artwork without bringing racial tensions to the forefront of its meaning (there is plenty of black-on-black violence artwork, for example). But out of all his projects, the white figures are never depicted as violent or particularly dangerous. The Occidental Observer has noted that even in all-white paintings, they are depicted as a people incapable of thinking for themselves, doomed to a life of drunkenness and stupidity.

Perhaps the most disturbing aspect of Peterson’s work is that he was commissioned to paint a boat for a company founded by Benjamin de Rothschild in 2001 (the company is called Gitana). The boat was named after Edmund de Rothschild and is called Gitana 17 for short, skippered by Sebastian Josse. According to the Rothschild Archive, the Rothschild family has nearly always had a passion for yachts and sailing beginning early in the 19th century. Today, Peterson’s racially motivated artwork is being incorporated by the Rothschilds into their love for sailing, conveying a nod towards Peterson’s artistic representation of a racially motivated violent dystopia.

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The “Maxi Edmond de Rothschild,” or “Gitana ’17,” for short.

Peterson has claimed that “the world and people’s motives are exceedingly complex and what seems heroic and just on one side is often the opposite on the other,” inferring that he empathises with violent extremist ideologies. In an interview, he expressed a belief that “the race situation… is a subject that’s totally neglected and not confronted at all. We do things on a surface level… racism today has become systemic and deeply rooted within economics and politics and housing developments and the jail system. There’s so many layers of unfairness, and you see how shit boils up.” Peterson has also professed to consider his work to have a timeless quality, saying that his artwork is not “nailed down in time” and that it could be depicting a racial revolution from hundreds of years ago, today, or, as it is inferred, in the future. 

These grotesque black-and-white paintings by Peterson are inherently prophetic, and the mural beneath the Eiffel Tower celebrates the dissolution of native Europeans either through violent domination or mass immigration. As Peterson has been funded by a Rothschild organization, his artwork now depicts a scene that the most powerful family in the world seeks to make a reality: control. Peterson’s work is about domination and abolition, brutally dismantling the existence of white figures. Titling his painting with labels such as “Justice” and Vengeance,” Peterson is seeking to convey a subliminal nod towards what could be a racially motivated war on the horizon.