下载文件 - Mr Peacocke

COMPARATIVE STUDY
Salvador Dali
The Metamorphosis of
Narcissus
1937
Oil paint on canvas
Support: 511 x 781 mm
Frame: 820 x 1092 x 85 mm
IT’S ALL GREEK TO ME…
I have grown up hearing many Greek myths, as my mother used
to tell them to us on our walks to school. In these stories I was
always struck by the very human quality of the greek Gods and
stories. Jealousies, revenge, and ego all presented a very different
image of God(s) than the Catholic church I was raised in.
Fig. 2
And yet, in a way, these Gods seemed more real. It was easier to
relate to them. Perhaps that is why I am still intrigued by the
myths. And I am not alone in my interest. Throughout different
times and in different cultures people continue to explore Greek
Mythology and the messages they convey.
Fig. 1
Fig. 2
I selected the three artworks presented on this page
because they come from different time periods,
political systems and cultural backgrounds. The
materials and presentation are varied.
The subject matter is the linking element: Icarus
and the Hubris of man, Narcissus and his all
consuming ego, Nike and her elusive nature.
I also have a personal connection to two of the
pieces. The Winged Victory of Samothrace is at
the Louvre and as I lived in Paris, I was able to see
it in person. I also visited the Salvador Dali
museum in Montmartre.
Unknown
The Winged Victory of
Samothrace
C. 190 BC
Marble
Height: 3.28 m
I welcomed the opportunity to learn why these
artists were using Greek Myths and what messages
they were trying to communicate.
Herbert Draper
The Lament of Icarus
1898
Oil paint on canvas
Support: 1829 x 1556 mm
Frame: 2400 x 2185 x 240 mm
Fig. 3
BY ADELE BERTSCHY
IB2 CANADIAN INTERNATIONAL SCHOOL OF BANGALORE, INDIA
THE LAMENT OF ICARUS
Light source
A bright triangle of active
colours of light are the
background. This links to the
fair skin colour of the nymphs.
The farthest point in the
painting is the brightest
whereas the darkness and more
passive colours are in the
foreground.
The artist uses the setting
sun as a source of soft,
warm lighting.
Tone and Sfumato
High tonal contrast, with a
wide range of mid tones.
Formal Analysis
Viewpoint
Three central figures lie
on this diagonal, Icarus
and two of the nymphs.
Main triangle. The
viewpoint is that of a
spectator, and we are
looking from above,
inviting the viewer to
feel drawn into the scene.
Proportions and tones of
figures
Realistic proportions
and realism of figures.
The use of oil paint on
canvas makes the colour
opaque.
Warm palette of colours
used: shades of yellow and
brown.
The painter appears to have
used a sfumato effect - “fine
shading that produces soft,
imperceptible transitions
between colours and
tones.” ("Sfumato | Painting Technique."
Contrasting colours of
skin tones of the fair
nymphs and the sunkissed Icarus, creating a
a silhouetted contrejour.
Yet the colours
harmonise as they are
both warm tones.
Movement
Icarus’s right hand is limp,
in a position suggesting
the dead neck of a bird,
which could be considered
as a metaphor of his
death. The shape of his
hand is echoed by this
nymph’s hand, creating a
dynamic S shape.
Size and Atmosphere
The portrait format
and dimensions being
1829 x 1556 mm
overwhelms your field
of vision.
The atmosphere feels
calm, cool and
dreamlike although
there is something
disturbing since Icarus
is dead.
Encyclopedia Britannica Online)
Rule of thirds
Shape of wings
Horizon line creating
depth of space in the
painting.
Both the body of Icarus
and his wings droop,
like a dead flower.
The rule of thirds is a
grid with 2 horizontal
and 2 vertical lines each
at 1/3 from the edge. A
central composition
putting the bottom
nymph on the
intersection of two line
of thirds.
The left wing is falling
from flight whereas the
right wing seems broken.
The wings resemble
those of a butterfly.
Composition
The composition is
harmonious, and
planned. There is a
balance of colour and the
shapes are placed in
relation to the frame.
THE LAMENT OF ICARUS
Function and Purpose (Interpretation)
This is a narrative piece portraying the myth of Icarus. The classic tale of Icarus is as
follows: Icarus and his father Daedalus were thrown in a pit. To escape, his father
created two sets of wings made from candle wax and from fallen bird feathers. When
Icarus was given the wings, Daedalus warned him to stay close and not fly too high, else
the sun would melt his wings. At first Icarus listened, but then he got carried away, his
wings melted, and he fell to his death.
The moral is a warning against the hubris of man. Hubris: “In literature, a character with
this pride ignores warnings and laws and this usually results in their downfall and
death.”(“Hubris: Learner's Dictionary”) Icarus had been warned, but was pulled by an urge so
strong he couldn’t resist. His need over-rode the advice of his father, and his hubris led
to his downfall.
This painting is specifically about the tragedy of Icarus’s death. There are only 4
compositional elements - the dead body of Icarus and the three nymphs surrounding
him. This simplicity leads the viewer’s eye towards the central figure; Icarus’ dead body.
In direct contrast to a Greek Myth told in England in the 1800’s, where the story is
remote in culture, and time, and of unlikely reality, the bodies here are painted with
anatomical precision. Icarus’s wings are shown intact, although he fell to his death
because his wax wings had melted. The body of Icarus is also undamaged after falling
from a great height. Both appear realistic, yet are inconsistent with the telling of the tale.
This is a romanticised vision of the fallen Icarus- portraying the corpse without any of
the bodily consequences of plummeting to death. It was painted in 1898, during the
Victorian era, and though painted at the end of that era, reflects the early influence of
Italian Renaissance on the Royal Academy of Arts where artists strove to “make the
subject of their work appear as noble and idealised as possible.” (“Victorian Painting”)
The reason for this depiction of Icarus could be that it is easier to identify with and lament for a perfect youth than shattered remains. The colour palette used is warm and
soft, typical of romanticist paintings. The setting sun symbolises the passage of time or fate, and shows that this is the conclusion of the tale. Icarus’ skin looks tanned and
sun-kissed, rather than burt. The soft and delicate treatment of the nymphs’ bodies communicate the fragility of their existence. The musical instrument held by one of the
nymphs suggest a melody was being played prior Icarus’ arrival. “They flock around him confused and distraught as though they had never been so close to death before;
[…] The third nymph does not get too close to Icarus; she is curious but mourns from a distance. She is not as overwrought as her friends as she has seen this pity before –
a death by ambition by one so young. So instead of fondling his remains, she looks on him solemnly, the knowledge of death being her one regret of eternal life.” (Quade)
THE LAMENT OF ICARUS
Cultural Evaluation
Herbert Draper, was born in England 1863 (or 64) and died in 1920.
("Herbert Draper, 'The Lament for Icarus’ ") The Lament of Icarus was made during
the Victorian era (1837-1901). The reaches of the British Empire were
vast. (Evans) During the Victorian Era, people are reputed to have been,
for the middle class, “prudish, hypocritical, stuffy, [and] narrowminded.” ("The Victorian Period")
This can be seen in The Lament of Icarus through its conservative
representation of nudity. It is suggested that the nymphs are nude, yet
their bodies are only half exposed and breast and genitals are not
visible. In the same way, Icarus is covered with rags.
Draper’s audience were Christians, and their perception of this painting would draw a
parallel between Icarus and Christ. The Pieta on the left, by Sir Anthony Van Dyck,
was painted around 1629 (“Pieta, C.1629 - Sir Anthony Van Dyck”) and would be a familiar style of
image to Draper’s viewers. The painting portrays Jesus after he is taken down from the
cross. He is surrounded by Mary, who is behind him looking to the heavens, and MaryMagdalene who is embracing his hand. There is a strong link visually between the two
paintings.
In this context, Icarus symbolises Jesus, and two of the nymphs tending him become
Mary and Mary-Magdalene. Perhaps the visual similarity between The Lament of
Icarus and Pieta is to highlight the contrast in their tales. Where Jesus dies for the sins
of humanity, in order to rise again, Icarus falls due to conceited human ego and will
never rise again.
Fig. 4
Formal Analysis
THE WINGED VICTORY OF SAMOTHRACE
Fig. 5
Fig. 6
Shape and Form
Freestanding sculpture meant to be viewed
from all sides. Harmonious proportions. Her
head is absent, as well as her arms.
Proportion
Winged Victory contains realistic
proportions. The curving graceful flow of the
lines emphasise the form of her body. The
intricate detail of her flowing garment is
responding to the wind that would have been
cutting over the prow of her ship.
Size
She is now exhibited at the Louvre at the top
of a staircase. The viewer climbs the steps
where she dominates the height. She
overwhelms our field of vision standing
3.28m tall. The sculpture is exhibited on a
plinth resembling the prow of a ship.
Fig. 7
Tone - Light source
The marble statue creates shading and
lighting through its carving. The natural
lighting from her outdoor setting would
have created extreme shadows and
highlights. Lighting would have changed
throughout the day as the sun rose and set.
Fig. 8
Colour
Monochromatic, as the same marble was
used for the whole body of the statue primrose or yellow ochre earthy colour.
The active colour gives it a sense of
movement.
Movement
Medium
Smooth polished Parian marble the most
sought after due to it’s “clearness,
limpidness and its ability to capture the
light.” ("Marble of Paros Island - Greeka.com”)
The Winged Victory is incredibly well
preserved as the detail is still extraordinary
and she is over 2000 years old.
The Winged Victory of Samothrace is an exquisite
piece in which the beauty lies in the forward
movement of the body and flow of her garments
created through the carvings in the marble. The
figure slices through space. Her chest is forward and
lifted implying immanent movement or a step in
progress or perhaps recent landing as her wings are
spread. “Her legs, torso, and wings create a series of
boldly opposing diagonals that enhances the
impression [the statue] gives of being in
motion.” (Kinnee)
THE WINGED VICTORY OF SAMOTHRACE
Function, Purpose and Cultural Evaluation
This piece is allegorical; the Winged Victory is used to symbolise a deeper moral or spiritual meaning. The Winged Victory of Samothrace has
been created as homage to Nike (the goddess of victory). She was an incarnation of Victory herself as she lands on the prow of an implied ship.
One theory is that the sculpture stood in the niche of a hill overlooking a bay. Villagers payed homage to the Nike Goddess which guaranteed
protection of the sailors and was said to scare enemies.
Portraying Nike as a human figure was common in Ancient Greece. All of the Greek
gods and goddesses were portrayed as human, including human traits, but were
humans perfected. The scale of this Nike, and the majesty of her wings convey her
power and divinity. In Greek religion it was common to pray to and give thanks to
the Gods for success in ventures. And if the homage was not sufficient the Gods were
quick to anger and punish.
The quality of the marble, the exquisite nature of the carving, and the scale of the
project reveal the wealth and importance of the victory it celebrates- either past or
anticipated. These details are lost to history. When she was found in Samothrace, a
small island in the Aegean sea, in 1863, nothing else was found with her besides
pieces. (Marie-Bénédicte) Her arms and head were already missing, though her posture
and recent proposed illustrations indicate that she would have been carved with both.
The left side is more intricate than the right, some theories suggest that this is
because “the work was was meant to be viewed from the front left-hand side.” This
would depend on the angle of approach of the viewer as they approached the niche
she is thought to have occupied. Since this piece was created more than 2000 years
ago, all information, including the name of the artist is speculative.
One theory suggests: “The Nike of Samothrace is a Pergamene dedication
memorialising the Pergamene-engineered Roman capture in 166 BC of King
Perseus, last of the Macedonians, at the island of Samothrace itself. The sculpture
therefore belongs to the Attalid tradition of generosity, intellectualism, and claim to
the Classical Athenian role as saviour of Greek civilisation.” (Kinnee) As the tentative
date of creation is circa 190BC this event would not be possible. Regardless of the
actual event, this winged Nike is a formidable homage to success.
THE WINGED VICTORY OF SAMOTHRACE
Function, Purpose and Cultural Evaluation
There have been speculations and reconstructions of what the statue once looked like, based on the position of her
shoulder and the “right hand found in 1950” (Kinnee). Some suggest she is calling out victory with her hand around
her mouth, while other theories suggest she is holding a spear or a trumpet. (Kinnee)
Figure 11 is an illustration of one potential reconstruction. This drawing shows her not holding anything but
waving, or issuing a blessing. The winged victory today is exhibited in The Louvre, in Paris, and has been given a
whole space of her own. She is recognised today as a masterful work of art, her religious inspiration and homage
secondary.
Fig. 9
The Louvre’s placement of the statue
at the top of the stairs, means that the
viewers come from below, and even
when numerous they remain
insignificant.
The serene symmetry of this new
wing at the Louvre creates a sense of
peace and prayer, duplicating the
feeling of a procession through a
church nave, with the Winged Victory
always visible above as is Christ on
the Cross.
Is this parallel a coincidence? Or is
the Louvre intentionally drawing just
such a cultural comparison? And to
which aspect of the Winged Victory
are they creating homage? Antiquities
Gods? Or a great work of Art?
Fig. 10
Fig. 11
THE METAMORPHOSIS OF NARCISSUS
Symmetry and Reflection
Through the central axis
there’s a symmetric
composition.
From the edge of the body
of water, images are
reflected precisely in the
still water.
Formal Analysis
Foreground and Background
Large figures in the
foreground with traditional
horizon line and perspective.
Small figures and details in
the background recount details
of the story of Narcissus.All
figures are painted in a
realistic style.
Narcissus is seen in the
background being adored by a
group of young beautiful women.
Rule of thirds
Size, Medium
Horizon line, passing right
through both lines of thirds
and right between the
head/egg, and finger/ leg.
Support: 511 x 781 mm
Frame: 820 x 1092 x 85 mm
The vertical centre of the figures
both pass through the line of
thirds.
Dimensions of painting follow the
rule of thirds. The intersections of
the lines do meet at crucial points
drawing in the eye to the focal
points.
Color
In the double imagery, one sees
a colour contrast. Warm colours
on the left, symbolising the
liveliness of Narcissus vs. cold
colours on the right, which
commonly represent the colours
of the inanimate objects.
Patches of cold colours on the
warm side and warm colours
on the cold side.
Oil Paint on canvas
Symbols
Salvador Dali uses his personal
language and symbols, such as
the eggs and ants. ("Surrealism
Movement, Artists and Major Works")
Juxtaposition and Surrealism
Dali juxtaposes multiple
elements in this painting, some
are more abstract and
symbolic, typical of a surrealist
painting. For example, the dog
eating meat, the cliff merging
into the sky, the checkerboard,
figure standing atop on a black
and red box, and others that are
so far in the background that
they are hard to identify.
THE METAMORPHOSIS OF NARCISSUS
Function and Purpose (Interpret)
Dali wrote a poem that inspired this painting. The painting became a visual accompaniment, the two to be
interpreted together. This was an unusual approach, even for Dali.
Dali’s poem explicitly refers to the Greek myth of Narcissus. In the traditional tale, Narcissus is a
handsome young man who scorns the love he inspires. Aphrodite curses Narcissus with self-love- he
literally becomes enamoured by his own reflection and ignores bodily needs until he dies. The narcissus
flower blooms in his place as a memory to him.
“Dali’s poem, below, accompanied the
painting when it was initially exhibited:
Narcissus,
in his immobility,
absorbed by his reflection with the
digestive slowness of
carnivorous plants,
becomes invisible.
There remains of him only the
hallucinatingly white oval of his head,
his head again more tender,
his head, chrysalis of hidden biological
designs,
his head held up by the tips of the water's
fingers,
at the tips of the fingers
of the insensate hand,
of the terrible hand,
of the mortal hand
of his own reflection.
When that head slits
when that head splits
when that head bursts,
it will be the flower,
the new Narcissus,
Gala - my Narcissus.”
("Dali, Metamorphosis of Narcissus")
Dali deviates from this tale with his focus on the ‘white oval of his head’ that eventually becomes a
cracked egg which gives birth to the flower. In Dali’s personal language, the egg symbolises “hope and
love” and the ants are symbols of “death and decay.” (“Dalinian Symbols”)
He uses them in his other works as seen in “The Persistence of Memory (1931)” Fig. 12 (“Salvador Dali The
Persistence of Memory 1931”) or in “Geopolitics Child Watching the Birth of The New Man (1943)” Fig. 13
(“Geopolitics Child Watching the Birth of the New Man”).
Fig. 13
Fig. 12
Dali focused on unifying the subconscious mind with the conscious one. “The Paranoid-Critical method is a
Surrealist method used to help an artist tap into their subconscious through systematic irrational thought and a
self-induced paranoid state.” ("Paranoid Critical Method: Salvador") “Dali believed that when people viewed his work,
there was a subjective understanding of his work as the subconscious has a symbolic universal language.
Simply viewing his work would evoke the mind of the viewer to experience unconscious acts.” ("Paranoid Critical
Method: Salvador” ; “Paintings”)
Dali still believed in the formal painting of these abstract concepts, hence the painting style resembles “hand
painted dream photographs.” ("Salvador Dali - The Paranoid Critical Transformation Method") “Dali said: “My whole ambition
in the pictorial domain is to materialise the images of my concrete irrationality with the most imperialist fury
of precision…” (“Paranoid Critical Method: Salvador”). In other words to paint realistically his own fantasies.
THE METAMORPHOSIS OF NARCISSUS
Cultural (Evaluation)
The Metamorphosis of Narcissus, 1937, is a surrealist work. Dali remained a critical figure in
the surrealist movement until about 1942. ("Dali Biography")
The “Manifesto of Surrealism” was published by Andre Breton and in which he states that
“surrealism is the a pure state of mind that allows someone to express thoughts freely and
without the encumbrance of rational thought and societal rules.” (Linde)
1937 was between the two European World Wars. This was a time where traditional roles and
values were questioned. War is a time of chaos, random death and nonsensical violence.
Rational explanations can not justify the casualties. Meaning was searched for, not just by
artists, but by philosophers and thinkers. A greater common understanding between men was
looked for and identified as the ‘subconscious’. “Sigmund Freud emphasised the importance of
the unconscious mind, and a primary assumption of Freudian theory is that the unconscious
mind governs behaviour to a greater degree than people suspect. Indeed, the goal of
psychoanalysis is to make the unconscious conscious.” (McLeod)
Salvador Dali (1904 - 1989)
Fig. 14
When Dali met Sigmund Freud in London in 1938, Dalí took The Metamorphosis of Narcissus
with him, as an example of his work. He was excited to share the success of his revolutionary
technique, the “Paranoid-Critical” method. Dali also brought along an article he had written on
paranoia. (Riggs) “Freud wrote the following day to Stefan Zweig, who had introduced them, that
'it would be very interesting to explore analytically the growth of a picture like this’.” (Riggs)
Dali is using this painting to explore an entirely new concept, that of painting using the
subconscious mind, and yet, he is using a Greek Myth to do so. This confirms the universality
and continued relevance of these tales.
Sigmund Freud (1856 - 1939) Fig. 15
Comparison (Formal)
The Lament of Icarus (1)
(1) —— > < —— (2)
The Winged Victory of
Samothrace (2)
Size - 1829 x 1556 mm - midsize
Sun as light source
Size - 3.28m - biggest
Year - 1898
The focal point is in the centre
Year - C. 190 B.C.
Atmosphere - Cool and calm atmosphere
Easily read
Atmosphere - Dominance
Style - Typical of Victorian Era
Realism
Style - Classical Greek
(2) —— > < —— (3)
Distribution of body weight resting on one knee
Colour palette - sculpture and
left hand side of Narcissus
painting
No feet, hands or face of the
body
The Metamorphosis of
Narcissus (3)
(3) —— > < —— (1)
Size - 511 x 781 mm - smallest
Oil paint on canvas
Year - 1937
Horizon Line
Atmosphere - Still
Tragic mythological heroes
Style - Surrealist
Perspective
Viewpoint - Eye level
Background and Foreground
Viewpoint - From above
Representing a figure who flew
Viewpoint - From below
Palette - Reduced to shades of the sun
Draping - Wings / clothing
Palette - Monochromatic
Palette - Use of full colour spectrum
Complete State
Composition - Central
Harmonious and simple
compositions
Composition - Central around figure
Composition - Double Imagery
Representation of death
Line - Triangular configuration /
Diagonals
Line - Carvings creating movement
Line - Central Axis / Symmetry /
Reflection
Rule of thirds
Representing - Icarus
Representing - Greek Goddess Nike
Representing - Narcissus
Metaphor - Limp hand representing
death
Paradox of movement and stillness
Use of Personal Language
Type - Sfumato Painting
Type - Parian Marble Sculpture
Type - Painting
State - Incomplete
Colour symbolism
Juxtaposition - Difficult to
comprehend
Photorealistic illustration of his
subconscious
Small scenarios - Hard to read
Similarities Between (1) (2) (3)
Realistic representations of the
Human Body but with
surrealistic elements (e.g..
human bodies with wings and a
head resembling an egg).
Style of Era in
which it was
created.
Greek Mythology Heroes or Gods
The subject
matter
represented is
metaphorical
Warm
palette
Viewer is a
spectator
High tonal
contrasts
The Lament of
Icarus
The Winged Nike is made in full
belief of the Greek religion. The
statue is an offering or thanks to the
God herself.
Draper is using the story of Icarus as
a metaphor for the Hubris of
Mankind, most likely in response to a
personal or political event.
She is incomplete as her head, hands
and feet are missing. Her purpose and
reconstructions are mere speculations as
she was made too long ago for anyone
to know for sure.
Parallel between
the piece and a
Christian
symbolism.
Painted during
Victorian Era
Created in homage to the
Greek goddess Nike.
British artist
Communicates the
tragedy of a Greek
mythological character.
Make use of Greek
mythological figures
as metaphor for the
message they attempt
to convey.
Projects a sense of melancholy.
The Winged Victory
of Samothrace
Figures represented
over body of water.
Unknown artist
but Greek
Absence of certain body parts give
them a sense of anonymity which
further enhances their metaphorical
nature.
Painting was made to be accompanied by a poem
Dali was part of the surrealist movement.
Dali is using the story of Narcissus to pull images from
his subconscious and communicate them to others using
universal symbols and signs.
Spanish artist
The Metamorphosis
of Narcissus
Comparison (Functional and Cultural)
My source of inspiration - The Lament of Icarus
The Icarus myth has transcended the ages, as it is in our nature to yearn for what we can’t have.
This myth conveys a warning, one man never seems to learn. I discovered many great artists
have used Icarus as a source of inspiration, so I looked into various ways I could interpret it.
Fig. 19
The Fall of Icarus by Pablo Picasso
1958
Acrylic on wooden panels
910 x 1060 cm
Landscape with the fall of Icarus by Peter Brueghel
1558
Oil on canvas
73.5 x 112 cm
Fig. 16
Icarus by Henri Matisse
1947
Pochoir
16 1/2 x 25 3/16 in
Icaros falling by Peter Calaboyias
1940
Steel rods and concrete base
Fig. 17
Fig. 18
The fall of Icarus by Marc Chagall
1975
Oil on canvas
213 x 198 cm
Fig. 20
Inspiration and medium
Above are some of my previous works, taped replicas of my body.
I longed to interpret the Icarus myth my own way. As an adolescent on the brink of ‘leaving the nest’, I am in a very similar position
to Icarus when Daedalus gave him the wings… how could I show this parallel? And what will I do once I feel the vastness and
vertigo of the world?
As I am not naturally gifted in painting or drawing, I decided to look into more contemporary art forms. I chose to create an
installation piece. Draper’s meaning behind the piece was a warning against the hubris of man. I believe I am the Icarus of my own
story. How will my tale end?
The next question I came across was how to represent my own Icarus. Should I be me, a human body, or something more universal?
After making several taped bodies, I finally settled on representing Icarus in the form of a hollow, tape chair. A chair is an object
that transcends cultures and times and that every human can relate to. A chair’s purpose is clear and straightforward, it adds stability
when you sit on the ground. A chair was never meant to fly and we can not imagine it flying. We often forget that humans don’t
really fly with books, movies, dreams, and airplanes. But a chair is clearly meant to stay on earth, and so we are surprised to see it
defy gravity.
Sketching and Planning
I found that one can more easily relate to an object that people use on a daily
basis, such as a chair, than to a copy of myself.
So I layered chairs in consecutive coatings of tape in order that the skeletons
would be stable, and strong enough to stand on their own. The tape stuck to
itself, and I slit the sides open to remove the chair from inside the cocoon.
In parallel, I started working with a wax medium as it was the max melting
that generated Icarus’ downfall. At first I experimented with melting wax and
poured it onto some of my spare tape body parts to see how it would react
with the tape. The tape didn’t melt, so I proceeded to pour the wax onto the
chairs.
I sketched out various ways to link the myth, the chairs and the wax (see
below).
Artist Inspiration
While planning my Icarus piece I came across the artist Dania Al-Hadid. It is intriguing to see the struggle with which
she tries to defy gravity. Her projects are all very eye- catching as movement is captured through frozen ‘waterfalls’.
Gradiva’s forth wall, a piece created in 2011, (Fig. 21) was particularly original and interesting to me. Movement is
created from the static flows of the ‘waterfalls’. How could an object so still contain so much mobility? Could I use
this effect somehow to arrest the fall of Icarus? In the myth, his end is inevitable. But what if I could create a sense of
falling but without the impact?
Diana al-Hadid’s says that she wants the viewer to ‘pay attention about weight, volume, space, interiors, and
exteriors’. I feel the weight of the body on top of the emptiness. The body being incomplete allows it’s volume to be
better understood. Absence is creating presence. Her viewers are left with the room to interpret them. This is how I
wished my Icarus to be; not me, personally, anymore. But a concept that each could apply to their own situation.
Gradiva’s forth wall
2011
Polymer gypsum, fibreglass, wood, steel, pigment
183.5x190.75x132 inches
Fig. 21
Antonym
Fig. 22
2012
Steel, polymer gypsum, fibreglass, wood, foam, paint
68x63x54 inches
My Icarus
This is my final piece. Three plastic tape chairs hang in pyramid
formation from the ceiling, with the bottom chair attached to a
flat raised surface. Their transparency and hollowness give them
the lightness of bird bones. The chairs increase in size as they
descend, enhancing the perception of height and distance. Each
chair is a representation of Icarus throughout his fall. The first
has wings, represented by the generic feathered wings readily
available to the youth of today. I wanted it to be modern. They
are coated in the wax that proved so treacherous to Icarus’s
dreams. I have chosen red to emphasise the link with his life
blood. Indeed, the second chair has drips of red- foreshadowing
imminent doom. The last chair has begun its moment of impact
and collapse.
My Icarus piece explores the critical moment of realisation: this
is the point where Icarus can no longer undo his folly. The
catastrophic consequence of his action is unfolding.
Yet, in my piece, it has not fully happened. His imminent demise
is shown through the ‘blood’ and collapsing chair, but like Al
Hadid’s sculptures, the moment is frozen. The full destruction is
suspended. Icarus is caught in an infinite and continuing Hell of
realisation. This is where the true horror of this myth lies.
WORKS CITED (IMAGES)
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Fig. 2: Salvador, Dali. The Metamorphosis of Narcissus. 1937. Tate Modern, London. Tate. n.d. Web. 19 September 2015. http://www.tate.org.uk/art/artworks/dali-metamorphosis-of-narcissus-t02343
Fig. 3: Unknown. The Winged Victory of Samothrace. C. 190 BC. Musee du Louvre, Paris. Musee.louvre.fr. n.d. Web. 19 September 2015. http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html
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