“Puppets” – Vianden Museum of Caricatures and Cartoons Competition Entry

Created over the course of eight intensive days, “Puppets” is a bold digital satire that takes direct aim at the themes of manipulation, disinformation, and media distortion. Entered into the prestigious annual competition hosted by the Vianden Museum of Caricatures and Cartoons, “Puppets” stands as a layered visual commentary on the 2025 competition theme: “News, Fake News, Social Media.”

The creative process for “Puppets” began with a traditional hand-drawn sketch, allowing for fluid composition and expressive character design. From there, the piece was brought to life digitally in Photoshop, using a total of 65 meticulously painted layers. Every detail—from light and shadow to texture overlays—was carefully considered to heighten the satirical impact.

At the centre of “Puppets” stands a highly recognisable figure: Donald Trump. Positioned on the right side of the frame, Trump appears smug and in full control, clutching oversized wooden puppet handles with theatrical flair. His disturbingly cheerful expression contrasts sharply with the chaos unraveling below.

Extending from the puppet handles are strings connected to a series of marionette-like figures. Each of these characters represents a different facet of modern media manipulation. One figure sports an exaggerated Pinocchio nose, clearly growing longer as it delivers misinformation. Another grins maniacally while holding a rubber duck, symbolising the childish absurdity often seen in contemporary media theatrics.

The podium beneath the string-controlled figures is overloaded with corporate microphones, each one bearing generic logos that suggest corporate media influence. This detail in “Puppets” reinforces the blurred lines between journalism and propaganda, amplifying the central theme of distorted narratives.

To the left side of the composition, a blindfolded press reporter stands with an air of both confusion and resignation. The blindfold in “Puppets” symbolises willful ignorance or, perhaps, forced blindness in the face of overwhelming disinformation. This figure anchors the viewer’s gaze and deepens the narrative tension.

Technically, “Puppets” blends elements of caricature, digital painting, and symbolic visual storytelling. Exaggerated anatomy adds humour while rich textural details—like the wood grain of the puppet handles and podium—ground the piece in realism. The final image carries both aesthetic punch and political bite.

Colour plays a vital role throughout “Puppets”. A muted, almost sickly palette of greys, browns, and splashes of red and yellow helps convey the toxic atmosphere of misinformation. Subtle lighting effects draw attention to key elements, such as Trump’s glowing grin and the distorted faces of the controlled figures below.

The composition in “Puppets” is carefully balanced, leading the viewer’s eye from right to left, forcing engagement with each layer of visual narrative. Each string is meticulously painted to add both depth and dynamism, further emphasizing the sense of control and manipulation at play.

By integrating layered symbolism, “Puppets” encourages viewers to question how information is constructed, delivered, and consumed. The piece acts as a visual metaphor for the way modern political figures can manipulate narratives while media outlets, willingly or otherwise, become part of the performance.

“Puppets” pushes the boundaries of what caricature can achieve, transforming it from simple exaggeration into a multi-layered social critique. It stands as both a warning and a challenge: to recognise the strings being pulled and to seek truth amid the noise.

As an official entry in the Vianden Museum of Caricatures and Cartoons’ international competition, “Puppets” continues a long tradition of using humour and exaggeration as powerful tools for political and social commentary. It is a digital painting with a purpose—inviting dialogue, reflection, and perhaps even change.