Jesse A. Kantu’s Hypnotize is a small yet potent piece that speaks to the state of modern existence. Created using black marker on a recycled magazine cover, the 5 x 7.5-inch artwork is deceptively simple but packed with meaning. It is a reflection on how technology and social media shape human behavior, often leading to a passive, almost dreamlike state where people drift rather than actively engage with the world around them.
The choice of a recycled magazine cover as the canvas adds another layer of significance. Magazines—once a dominant source of curated information—have largely been overshadowed by the fast-paced digital age. In repurposing this material, Kantu bridges the gap between past and present, drawing attention to how media consumption has evolved. Unlike printed publications that required deliberate reading and engagement, today’s digital experience is rapid, fleeting, and often hypnotic. Hypnotize encapsulates this shift, showing how endless scrolling and algorithm-driven content can dull awareness and critical thought.
The black marker, stark against the glossy magazine background, serves as a symbol of clarity cutting through noise. The imagery is not overly detailed, but the message is clear. The work is a meditation on choice—every decision shapes a path, opening some doors while closing others. Yet in the digital age, the illusion of infinite options often leads to paralysis. People are lulled into a trance, convinced they are navigating an open world when in reality, they may be moving in circles.
Kantu’s description of Hypnotize reinforces this theme. He refers to the modern tech-driven environment as a “trancelike state” where individuals, instead of actively shaping their lives, remain locked in a cycle of passive consumption. The phrase “super relaxed with no clear direction” perfectly captures the numbing effect of endless media feeds, where people absorb information without fully processing it. There is a subtle warning in this piece—if society continues down this path without reflection or intention, it may arrive at a dead end.
The visual elements of Hypnotize are straightforward, yet they carry weight. The composition, though minimal, creates tension between movement and stagnation. The recycled magazine background, filled with remnants of past narratives, contrasts with the bold simplicity of the black marker. The limited color palette forces the viewer to focus on form and meaning rather than aesthetic pleasure. This mirrors Kantu’s broader artistic philosophy—art as a tool for deep contemplation rather than passive admiration.
While Hypnotize speaks directly to the digital age, it also ties into Kantu’s larger body of work, which frequently addresses the concept of “brokenness.” He is interested in the ways people navigate struggle, identity, and cultural shifts. In this piece, the “brokenness” is not overt—it is subtle, embedded in the quiet loss of awareness that comes from digital hypnosis. The piece does not scream for attention; instead, it mirrors the quiet slipping away of consciousness that happens when one falls too deeply into a screen.
Kantu’s Pyramid Art Services, which he founded in 2011, also reflects his concern with the intersection of art and social consciousness. His work does not exist in isolation—it is meant to be discussed, interpreted, and engaged with as part of a larger dialogue. Hypnotize is a perfect example of this. It is not a grand, imposing painting but rather a small, intimate work that invites close inspection. It asks the viewer a simple yet profound question: Are you awake, or are you simply moving through life in a trance?
Ultimately, Hypnotize captures a feeling that many can relate to—the sense of being pulled along by the digital tide, unsure of where it is leading. Kantu does not offer easy answers. Instead, he presents a visual metaphor for the modern condition and leaves the viewer to confront their own place within it. The work is a quiet but urgent call to wake up, to be intentional, and to break free from the illusion of limitless choice before it leads to an inescapable dead end.
