Dinos Chapman, best known as one half of the notorious Chapman Brothers. Continues his provocative solo practice with Horror, a visually arresting work that fuses absurdity with existential dread. Painted in vivid yet foreboding tones, the canvas presents a group of anthropomorphic bunnies gazing toward a blazing sunset, where the word HORROR looms ominously above the horizon. With his signature blend of the childlike and the grotesque, Chapman captures the surreal tension of contemporary life, where innocence collides with crisis.

The animals’ frozen stare becomes a form of collective witnessing, inviting the viewer to reflect on humanity’s fraught relationship with the natural world. Environmental anxiety, political collapse, and cultural fragmentation converge in a single, deceptively simple scene. Chapman renders this moment with visual irony and dark whimsy, transforming cartoonish figures into allegorical vessels of modern fear. The result is both comical and catastrophic.

Horror draws from Britain’s rich tradition of satirical art while resonating with the conceptual sharpness of contemporaries like Jenny Holzer or Banksy. Yet its roots remain firmly planted in Chapman’s YBA (Young British Artists) origins—uncompromising, transgressive, and unafraid to unsettle. Ultimately, Horror stands as both a searing political critique and a quiet elegy for a natural world under siege. It’s a haunting reminder that innocence and terror are often separated by a thin, flickering horizon.

Chapman’s works are held in major institutional collections including Tate (London), Whitechapel Gallery, Centre Pompidou, Hirshhorn Museum and Sculpture Garden, Garage Museum of Contemporary Art, Punta della Dogana, Fondazione Prada, National Gallery of Victoria, Hamburger Bahnhof - Museum für Gegenwart – Berlin, and Institute of Contemporary Arts in London.