Symbolism In Frankenstein

I was Dr. Frankenstein from a young age. Not in the sense of taking electricity and a disorder of organs and limbs to string together an imitation of life. Instead, I constructed life by drawing narratives with the human form to create spaces that were nonexistent. Drawing realistic bodies gave me the capacity to create what was physically impossible. As far as I can remember I admired the figure as an artistic tool as it was my introduction to consuming what was considered respectable creative work. From the time I was a child to the time I graduated high school, I wandered across the art history books, abundant in my house that harbored the likes of Monet, Da Vinci, and Caravaggio. From the constant interaction and utter obsession with

This witnessing was more than simply consuming a work and analyzing its meaning, technique, and the time for completion. In this, the attraction was second nature. It was the hair that floated in contorted ways as it defied gravity as that brought attention to the essence of the identity the subjects would fall under if more than bronze. To make the hair the central point in where the women meet, implies the message that it has a connecting mechanism from a cultural view, a view that is about celebration of these features. This aspect is witnessed in the care of, which the women are presented as they are adorned with branches, and the decoration of jewelry all of which enforced the sense of regality that their gaze radiate. Moreover, it was the simple fact that the subjects felt familiar and felt more like a reflection from a fantastic state. To see regality in the identity of those not necessarily the initial though in that sense manifested in me a sense of power that comes from being seen. Further, possibly the most important aspect to notice is Wiley’s choice to present this scene in the style of the Western artists during the 16 century.. There is a very marginalized group of black women depicted in that era, let alone a non degrading one. Manipulation of not only the form, but also history. By creating a work that flips the narrative, such as this one in a sense it can be argued that by creating the modification of a subject so shared as the human figure that it is to change a reality. In relation to my own work, if my work centers the figure to then create from it to manifest a narrative am I changing the reality of viewers on a small scale? It may be cliche to say that art changes the world, but in this sense it manifests realities that don’t exclusively exist on a physical