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5 min read

This text is a critical essay by Miles Mathis arguing that actor Brad Pitt’s venture into art, specifically sculpture, is a fraudulent act intended to further the “cooption of real art by the poseurs of Modernism.” Mathis contends that Pitt, along with other aging Hollywood actors like Jim Carrey, is using their fame to gain undeserved acclaim in the art world, thereby devaluing genuine artists. Mathis criticizes Pitt’s “sculptures,” arguing they involve no actual sculpting and lack artistic merit. He contrasts Pitt’s work with his own art, which he claims is created from personal tragedy and is deliberately suppressed by the art establishment to prevent competition.

The essay then delves into a conspiracy theory involving Thomas Houseago, another artist exhibited with Pitt. Mathis suggests Houseago’s alleged mental breakdown and past trauma are either fabricated or a result of his own fraudulence. He posits that Houseago and Pitt are likely “peerage cousins” connected through various aristocratic families, including the Fletchers, Trench-Gascoignes, Houssemayne du Boulays, and Gores. Mathis also speculates that the reported murder-suicide of artist Saul Fletcher and his partner Rebeccah Blum was staged for promotional purposes, a tactic he believes is common among the “Families” who control the art world and aim to “confuse the Gentiles.” He highlights discrepancies in Fletcher’s biography, questioning his purported humble origins and military service. Ultimately, Mathis advocates for genuine artistry and spiritual integrity over the manufactured fame and financial manipulation he sees in the contemporary art scene.

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