FLOWERS OF A BEAUTIFUL
NIGHTMARE
What part of the nightmare addicts us,
so irrevocably, to it? Though we tear at the sheets, hands and back
clammy with sweat, the clack of unknowns over the silence of the city,
we are drawn to the rush of glandular fluids triggered by the macabre's
cool embrace. We yearn for it, laying down good coin to quench the erasable
thirst that follows us. Is this related to the innate cruelty of ourselves?
A projection of sorts? It has been said that homo sapiens is the only
animal capable of gratuitous crueltythe schoolyard bully, the
impatient throng awaiting the first crash at Indy, beer-sodden and sunburned,
the novel curiosity that has driven some to war. And what exactly of
curiosity? What of curiosity followed by the ecstatic plunge to discovery?
That our horrors retain, with reflection, a seamy attraction is obvious.
Shock value has become an artworld bon mot, discussed as artists once
contrived to verbalize color. What does it say of the fact that the
monolithic tragedy of a child's death, of disfigurement, elicits from
us an almost uncensored curiosity? We are stricken to feel a greater
pain for the theft of youth. Empathy, at least, for what will never
be known, books never read, languages never learned, love never made
... The poet and novelist Jim Harrison expressed this in verse:
You were so old we could not weep;
only the blood of the young
those torn off earth in a night's
sickness,
the daughter lying beside you
who became nothing so long ago
she moves us to terror.
Christina Bothwell faces her own nightmare
and her own sensitive curiosity objectively and gracefully. Her show
Living with Ghosts explored the mythos, or symbolism, of nightmare
and curiosity, melding the beautiful and the macabre with deft strength
and invention. Her sculptures present the ashen remains of a world we
could never know. Her figures, children, Siamese twins, dogs, and ghostly
women, are seen and translated as if relics or survivors, perhaps spirits.
Using clay and mixed media (straw, wire, burlap, antiques, and goose
dung), Bothwell gives her creations a sense of life or life-in-death
and aged character. The work is pit-fired, affording its aesthetics
a folk-like allure, a charm that grimly highlights the eerie divinity
in Bothwell's creations.
Spirit Child has a doll's torso and a charred, whitened face; its legs descend to clubbed feet in misshapen
bandages, one leg nearly twice as long as the other. The child sits
in a wooden swing, an antique hoop skirt frame hovering below. Living
with Ghosts has two figures, one doll-like, the other
an obese monstrosity of an infant, the blackened arms hanging as if
mere stumpsa comment perhaps on the humor of time and evolutionary
change. The figures rest atop a wicker pram, as if waiting for someone
to push them into a next life, a life where their curdled dreams could
perhaps breathe once more. A watery sadness seeps from the work, the
disconcerting surface understanding now giving way to the seduction
of its pastoral organics.
Perhaps the strongest of these immobile
puppets in tableaus are Open Heart, Ecstasies of St. Germaine and Feet
in the Soil. All are exceptionally crafted, exquisitely
detailed figurative offerings. Composite, compartmentalized gowns house
additional figures of animals and present complex stories. Though trapped,
Winnie-like in their skirt-like clay bases, the legless torsos strain
as if growing, somehow plant-like, to the light from above. There is,
throughout the show, a feeling of the nineteenth century. Miniature,
quasi-biological drawings serve as the motif found on the grainy surfaces
of the charred clay. Burlap, straw, and various found objects contribute
a grandly rural sensibility, perhaps scooped up from the Pennsylvania
countryside where the artist lives. Always there lurks some element
of dark poetry, the grotesquerie of Carson McCullers or Poe perhaps:
"I heard all things in the heaven and in the earth. I heard many
things in hell."
Bothwell's art revises the standard
symbols. This is most obvious in her installation Conjoined
Twins, a collection of dolls in various forms reflecting
this medical condition. Using sand and duck down along with clay, Bothwell
imbues in the lifeless dirt a sense of past and of reckoning. The dolls
are tragic: from them there emanates a reality connected to our shared
history and psychology. Bothwell's interest in the twins stems from
the metaphoric possibilities concerning binary traits within the individual.
The duality of self, once explored, inevitably contributes a wrinkled
form of truth to art and thought. Perhaps Hegel's philosophy of unities
began here; perhaps this is the stone of Bothwell's conceptual fable.
Chair for Conjoined Twins, for instance, swirls with fantastic
hues around the horrific surreal design; one chair, with three arms
and two backs, looks as if it has been pulled from a burning Victorian
manor, unvisited for years and said, of course, to be haunted.
Viewing the twins, one must come to
terms with deep-rooted fears and biases, including the innate horror
most have to any kind of deformity. Bothwell is dealing with material
that few artists can control with anything approaching taste or sensitivity.
These figures engender in us pangs of pity or loathing, disgust or perhaps
elation. How interesting that Bothwell writes a history with our reactions.
In his collection of lectures, Symbolism,
Its Meaning and Effects, first published in 1927, Alfred North Whitehead
concluded by arguing that, "Those societies that cannot combine
reverence to their symbols with freedom of revision must ultimately
decay either from anarchy, or from the slow atrophy of a life stifled
by useless shadows." Bothwell's work turns symbols into spirits
of creation. Her art is ethereal, not to be held down by misunderstanding.
The world she spins before us hovers outside mere imagination. With
such daring sculptural pieces, she immediately invalidates any questioning
of content. This is an art of nature, an art of birth, death, decay,
and the life held among them. She has surpassed our fears and curiosities
to show us a new literature of the figure, an art of dark importance
that sits in judgement of our limitations.
Mark Zimmerman
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