Monday, June 13, 2011

Growing Old {Gram, Kerrin Hughes, 2011}


Dancing across the petals her fingertips went. A few times they stumbled, but only for a few moments of pain. The Arthritis wasn’t too severe for her age, and she was able to make her way through the day will an elderly ease. Although she had never let painful barricades stop her from enjoying life. She still managed to climb mountains, jump out of planes, and ride roller coasters like any adventurous twenty-year old, except that she’s seventy-seven. Her children couldn’t even hold her back from her daily ballroom dancing class. They threatened to send her into an elderly home, but she could never bring herself to do such a thing. Even at this moment of weakness she couldn’t. The memories of her husband couldn’t even bring her to tears. She’s the strongest woman I’ve ever met. Annabelle tosses the handful of rose petals into the ocean current and gasps at the feeling of emptiness. It’s as if the petals were taking her breath to where Edward’s soul rested.
“Wow, Annabelle you sure know how to bring tears to my eyes. As much as I would love to stay here, it’s getting dark out and I barely know our way home.” I stumbled out my words and wiped the moisture from my eyes. The whitecaps were getting larger and the sea mist was getting stronger. I touched the shoulder of my acquaintance so she could see the last glimpse of the sun as it went behind the dunes. 
“Beautiful,” I heard her whisper. The feathers of her hair were blown back by a sudden gust of wind. “I love you Eddy, nothing will change that, and not even Death can steal what we had.”
I offered my arm to her, but she pushed it away with persistence and climbed the hill to the truck, “You should know by now, Savannah, I don’t need your help. I’m perfectly capable.”
“Humph,” I grunted, picked up the empty basket and chased after my older counterpart.
She had already started the truck for me by the time I got to my clunky F150.  She was reaching for the radio dial as I slammed my door shut. “Oh no Annie, not your Pop music. I hear enough of that just watering my plants at home. Those kids play their music too loud!” she giggled and turned up the volume. Her taste in music never ceases to surprise me!
I battled her for radio control until I finally turned it off. My peripheral vision watched as she tapped her fingers on the dashboard. I turned to her for just a second before going back to watching the road.
“So, how are you feeling? I’ve got water in the backseat if you need any. You can take a nap if you want”
“I’m fine! Geeze!”
If I didn’t know the truth, I’d swear she was a teenager.
“Well, since you have the energy, I want to ask you something; how do you get along in life? I mean, even when I lost my guinea pig when I was four I couldn’t get out of bed for days.”
“After all these years I’ve realized something. From loss comes pain, but you can’t let it overtake your life. You only have so many years to live, why not live them full out? Do all the things that scare you, because in the end, it doesn’t kill you. You’ll gain strength, and you’ll gain a memory you’ll remember forever. Would you remember the day you lost your guinea pig, or the day you climbed the stairs on the Eiffel Tower?  Exactly, and instead of people calling me crazy for being sad all the time, I’m crazy for having so much fun. I realized a long time ago that I need to move on…”
“Check please!” Edward spluttered. I gazed into the fiery-glow of his bloodshot eyes. Three glasses of wine and I could tell he was tipsy. Once a fool, always a fool. The walk home would be interesting.
The gentleman in him shone as he handed out a hundred to the waiter, told him to keep the change, got up, and helped me out of my seat.
“I know you’re just trying to impress me dear, but over these past few weeks I’ve realized you’re truly more than I deserve.”
“You deserve only the best! You are the most caring and beautiful woman I’ve ever met. If anything I don’t deserve to have you. At this point you are the best thing that has ever happened to me.”
I felt the blood rush to my cheeks and hoped he couldn’t see my embarrassment. He winked at me with those dreamy eyes of his. I couldn’t wait to walk out of the door of the restaurant and have him kiss me.
I twirled around once outside. The light rain had just stopped and the smell was amazing and left the street with a slippery shine. Beautiful.
“Huh?”
“Oops I didn’t mean to say that out loud! What I said was ‘beautiful’. I love the way it looks and smells after it rains.”
“I like the way anything looks when you’re here,” I giggled and hid my smirk from his ever watching view. He grasped my chin and kissed my waiting lips. His lips were like sugarcane. A tingle of enchantment spread through my body and lingered at my toes.
Not accustomed to romance, I skipped away from him. He stood there and stared at the sky for a few seconds before waltzing my way. Edward caught my drift as I handed him my elbow to intertwine his in.
We walked slowly but productively; we sat on the damp swings of the playground when we got to the park. I quickly flashed back to when I had come to this swing as a young girl and smiled at the thought of my mother alive.
Suddenly he asked me a question: “What’s next?”
It confused me. I tripped over many answers. Does he mean like what we’ll do when he takes me home? What we’ll do in the next second? When we’ll get married? What we’ll do when we get older? I didn’t know how to respond, and didn’t want to scare him with a weird response. I would never want him to run away. I gripped his hand tighter and looked up to him innocently, “What do you mean?”
“Oh sorry, I was just thinking about what I would do without you. How would I go on? I know for sure that I would want you to move on, so I guess it’s up to you. What would you do? Would you be sad, or just live for me?”
“Hah. Your drunken ideas are adorable. This is sort of tough. I wouldn’t want to seem heartless, because I do love you and losing you would be so scary and I would miss you terribly! I never want to lose you! But I guess I would live. Hopefully you would want me to-“
“Of course!”
“Yeah, I guess I’d live for you. Do all the things you didn’t get to do. And think of you all the time. Not the sad parts, but of what you would be doing: laughing, smiling and just enjoying yourself. And reminiscing all of the good times, like tonight”
“But of course, I’ll never leave you.”
“And I’ll never leave you.”
“You better not!” His lips curled into a sly smile as he gathered me in his arms, “Next stop, your place to put you to bed! Haha!”
“That was the last night we had alone before he went to Vietnam. I still see the glow of his eyes every time I close mine. His spirit haunts me, but I welcome it. Knowing that he still loved me when he died comforts me, to know that our love will never die. I’ve built myself up over the years. My mother’s death and his have allowed me to think about how I’m going to spend my years on Earth. I think the most valuable thing I’ve learned is just to live while you can. Nobody’s stopping you. Embrace your free will, and your power. Go off and do amazing things!”

Friday, May 13, 2011

List of Literary Parallels

1) Oscar Wilde  "The Soul of a Man and Prison Writings"(Book) 1990

2) Kathryn Shevelow  "For the Love of Animals: The Rise of the Animal Protection Movement"(Book)  2008  United States

3) Dave Pelzer "A Child Called 'It'"(Book)  1993

4) Torey L. Hayde  "One Child"(Book) 1980

5) Maurice Sendak "Where the Wild Things Are"(Book)  1963

6) Roald Dahl "Matilda"(Book)  1988

7) Jane Mendelsohn "Innocence"(Book)

8) Markus Zusak "The Book Thief"(Book) 2005  United States

9) Sue Monk Kidd "The Secret Life of Bees"(Book) 2002  United States

10) Harper Lee "To Kill A Mockingbird"(Book) 1960  United States

11) Bryce Courtenay "The Power of One"(Book)  1989

12) Lesley Grant-Adamson "Guilty Knowledge"(Book)

13) Robert Zemeckis "Forrest Gump"(ScreenPlay) 1994 United States

14) Jon Favreau "Elf"(ScreenPlay) 2003 United States

15) Jessie Nelson "I Am Sam"(ScreenPlay) 2001 United States

16) Barbet Schroeder "Before and After"(ScreenPlay) 1996 United States

17) Kelly (no last name given) "Righteous Criminals"(Short Story) 2011 United States

18) Christina Grimmie "Liar Liar"(Song) United States

19) Hollywood Undead "Young"(Song) United States

20) Eminem "Cinderella Man"(Song) 2010 United States

Excerpt from "Anne Frank: Diary of a Young Girl" by Anne Frank

"It's really a wonder that I haven't dropped all my ideals, because they seem so absurd and impossible to carry out. Yet I keep them, because in spite of everything I still believe that people are really good at heart."

Anne Frank "Anne Frank: Diary of a Young Girl" 1947 Amsterdam

Wednesday, May 11, 2011

Excerpt from "Not All Die Early, Dying Young--" by Emily Dickinson

"Not all die early, dying young --
Maturity of Fate
Is consummated equally
In Ages, or a Night --"
Emily Dickinson  "Not All Die Early, Dying Young--" 1955  United States

Excerpt from the song "Pearl" by Katy Perry

"But I woke up and grew strong and I can still go on
And No one can take my pearl
You don’t have to be a shell No
You’re the one that rules your world Ohh
You are strong and you’ll learn
That you can still go on
And you’ll always be a pearl
She is unstoppable"

Sung and written by Katheryn Hudson(Katy Perry), Greg Wells, and Stewart  "Pearl"  Album Release: 2010  United States

Excerpt from "Flowers in the Attic" by V. C. Andrews

"Though it's been many years since I last saw it, I'll always remember that even my first impression was one of fear and wonder. My childhood was soon to be lost, my innocence shattered, and all our dreams destroyed by what we would find within."

Virginia Andrews  "Flowers in the Attic"  1979  United States

Excerpt from "House Rules" by Jodi Picoult

"There’s no way to explain to a child that the line between good and evil isn’t nearly as black and white as a fairy tale would leave you to believe. That an ordinary person can turn into a villain, under the right circumstances. That sometimes we dragon slayers do things we aren’t proud of."

Jodi Picoult  "House Rules"  2010  United States

Tuesday, May 3, 2011

'Organ Crimes' Xiqiang Dong


A pull and a tug,
A slice and a budge,
They tear and they grab,
Where am I? A lab?

Scalpel and hose!
Healthy? It shows!
I'll use this in my next transplant.
I want to be sad but I know that I can't.

My beauty, now sundered,
Feels a pain, loud as thunder.
A mistake has been made!
My flesh shouldn't be split by the blade.

A retort from her soul,
Must take its toll.
She wants to live, I can see,
But she'll be in hell I forsee.

Tuesday, April 26, 2011

Short Story: Your Eyes Give You Away



Journal 1:
Intense. Her gaze is intense. It stares into my soul with the bloodshot glow of a hidden sapphire. No smile fills the library. Fluttering behind her is a trail of gold, moving like a butterfly. But even through her beauty there is pain. A pain so excruciating it defies words. Her life story was visible through her expression. Her features reflect hardships that are emotionally endured, and negative for the soul. Dangerously exposed, it was open to me, a stranger. At this moment the decision is made. How could it be any simpler? She must smile, her torment must end.

Journal 2:
Without a glance from my victim, a daily routine is etched in my mind and even the fiber of my muscles. She is too preoccupied with her laptop and French-Vanilla espresso to notice me ferociously stalking in the nearby shadows.  Every move she makes sends an overwhelming wave of desire through me. It sends me near a pounce, but patience is key. There is a saying “live in the now”, but in order to be clean and orderly, time must be taken. No mess. She must be analyzed, so the moment must be satisfying and bright. Not dark and resented. It is necessary to know her life to know how to end the agony correctly.

Journal 3:
Interestingly enough she seems well off. But it’s her lack of soul that is killing her. She doesn’t have any friends. Well maybe, if you count the barista at the Starbucks that has memorized her order, or the secretary at her accounting firm, friends. She doesn’t have any family; there hasn’t been a heartwarming phone call, a long gaze at a photograph, nothing. She doesn’t connect with herself; she doesn’t heed a quote, she doesn’t practice yoga, and doesn’t even pause for a deep breath. She doesn’t have a connection with nature either, not even the strong gust of a natural wind can swirl through her hair, or whisper in her ear. Her lonesome form draws me toward. But it is clear that by meeting me she would be spooked and access to her would be denied.

Journal 4:
Her smiles need to shine in a blissful way. Not that fake smirk she flashes when she wants to be left alone. The one she uses so often when she’s working. Now my goal for her is to smile. Without a doubt her life seems perfect to an outsider. No bothersome people or animals, good job, natural beauty, etcetera, etcetera. But seeing past this shell, this material, exposes her blank spirit. Suffering through this loneliness will tear her apart. It’s impossible to just stand here in the street and watch her downward spiral.

Journal 5:
For some reason my doubts about this are appearing. And so close to THE day, too. So… what’s her value to me? Hah, everything at this point. Without a real job she caught my bored, wandering eye. And some force draws me to her. With all of potential she has, her spirit cannot go to waste. My conscience told me that her life needs an improvement. My nurturing character wants to fix her, but my problem-solving mind only knows one way to resolve her issue. Peering into her life story reveals even a childhood of aloofness. My wish for her is to be joined with others, like my past. But of course it seems that associating with others is not in my forte. It is! It just so happens that at the moment my location is new and the housewarming has not occurred. Once this event is over, and her soul is satisfied, there will be a shift into normal daily life. This park down the street from her apartment will be my reservation. My goal is to blend in, like in every other place that was my home.

Journal 6:
It’s getting worse. She broke down last night, her tears dropped onto the tiles like glass. Her shell finally burst from the pressure. The families passing by the wall of windows at her work catch her interest. The way she stares at jovial couples with their hyperactive children exposes her longings. She wants to feel as good as lovers can, as surprised as a toddler, or even as satisfied as a dog with a bone. Maybe those longings will be realities in her afterlife, because isn’t that what we are supposed to be when we’re dead? Happy? Drifting into eternal awe, after escaping this cruel world? Rather than just going through the motions, my belief is that she will feel every good thing possible.

Journal 7:
It’s so good to feel at home, the longings in my chest to help her are satisfied, and my nerves are at rest. This morning my steps were in haste, not in a rush, but in excitement. She had been reaching up for some potato chips in the pantry when the blade slid in. It felt more satisfying than the pressure of metal over the pulsing veins of my wrist that had been experienced in my younger years. The action required more effort than my previous beliefs, but she was calm. She must have come to terms with her life ending. A thought only played out by the most solemnly desperate. Even more pleasing than the thrust of the edge, was the bittersweet contortion of her face. It beamed with amusement. She was smiling, because her torment had ended.

Friday, April 15, 2011

Handicap- Freedom - Mita Pradan

The line of the crutch points right up to the upsetting face of the man. The side of the frame tilts with the angle of his left leg. The button line flows down into the line of his right leg. The thigh of his left leg lines up with the texture of the wall. The top of the two birds and the bottom of the single bird line up.
(I know this is late but I still figured I had to finish the assignment.)

Joseph Smith Rebuking the Guards in the Richmond Jail- Danquart Anthon Weggeland

This painting has many elements however many of them draw to each other. The top line of the light beam hits the womans hairline which ribbons right down to the baby's head. The lines on the door flow into the line of Joseph's arm.The chain coming from his wrist hangs and flows into the bend of his arm and up the cape, across his neck and down the cape to the floor where the mans hat is. The two lines of the wall in the background point down directly to two men's faces which are in distress..

Thursday, March 31, 2011

Critique #2

“Guilty” Tracey C. of TC Artworks, oil on canvas

Whether or not an action is a crime is up to the moral standards and point of view of an individual. If the point of view is the culprit then they will most likely believe that their action was okay, while the view from an opposing lawyer will be that the action is illegal and immoral. Many culprits do not actually know or believe that what they did is socially, morally, or personally incorrect. They usually represent this lack of knowledge when they are accused of this action, they could act like they don’t know what is being accused of them or truly not know. In the painting “Guilty” Tracey C. uses the emptiness of the background and cat’s stare, along with the subtle but obvious crime of the eaten bird to represent the universal belief that some actions have no value of wrongdoing to an individual.
The background of “Guilty” leaves the mind to wonder what it means; it could mean that perhaps the cat had no recognition of its wrongdoing. The straight blackness of the background symbolizes the empty thoughts, or the lack of knowledge of the crime. The background also could represent that the cat believes that there was nothing wrong with eating the bird, and the background is just that; nothing. There is no meaning to the background, which shows that the eating of the bird has no effect on the cat, and it does not care or know that what it did was wrong. Along with the black emptiness of the background, its eyes share meanings into the cat’s guilt.
Both of the cat’s eyes symbolize the wrongdoing of the cat. The almost innocent glare of the cat proves that it really doesn’t know what is wrong, and it is a moment like any other, not special. The cat does not acknowledge that he was not supposed to eat the bird. There is a shadow that covers one of the eyes to represent that the cat is on the dark side and guilty, while the eye not shadowed is representing the seemingly innocent qualities of the cat.  The dilation of the eye could also be the way of showing that the cat knows of its guilt. Eyes can have a lot to do with showing guilt of a crime.
Tracey C. uses the bright color of the feathers to make it the crime committed obvious, but the placement makes the meaning subtle to the viewers. The way there is a lingering feather shows that there is that lingering thought of being guilty even though the cat sees himself as innocent. Although society portrays cats to have birds as prey, viewers do not automatically see the feathers as a bird that was eaten. The way the feathers are a focal point within a focal point show that Tracey C. wanted us to see what the cat had done. The white spot of the cat is the focal point as it contrasts against the black fur and the black background, and the yellow feathers stick out on the white fur and the black background.
The many qualities of the painting represent the innocence and guilt of the cat. The background represents the way the cat seems to view its action. The eyes are a segway to determining its innocence to society. The obvious difference between the eyes shows the difference in outsider’s opinions and the cat’s own opinion of its action. The feathers of the bird indicate what the crime is, but is not an obvious meaning. Guilty by Tracey C. leaves the viewer to wonder what the cat believes it did.

Friday, March 11, 2011

Innocence Sculpture and Painting

Sculpture: "Children's Peace Monument", of Sadako Saski with paper cranes, by Kazuo Kikuch and Kiyoshi Ikebe
Painting: "Early Childhood: Tender Beginnings" by Donald Zolan

Sunday, March 6, 2011

Critique #1


                                                                                 Kerrin Hughes
                                                                                WAVI Block G
                                                                                 3/6/11
                                                                                 Critique #1
    
            “Eat, Wash, Eliminate” Harriet Caldwell (1994)

As I research my genealogy I struggle with my findings of historical records involved in the Holocaust. I began to focus on the abundance of children who were washed of their innocence in unethical conditions, and express them in my pieces. Victims of the Holocaust were brought to concentration camps where they were tortured, worked excessively hard labor, where they contracted illnesses, were experimented on, and ultimately murdered after being targeted for their race, religion, ethnicity, etc. These people were fed minute rations of soup and bread while longing for health. Once given the opportunity to shower, they took it, however they had been tricked and instead of water falling, a poisonous gas covered and killed the mass of innocent people. Harriet Caldwell was investigating her family when she came across this information. Her family had perhaps been some of the Jewish population killed in the event, some of them young children. The horrific findings led her to begin an artistic project expressing the events and feelings of the Holocaust. In her painting “Eat, Wash, Eliminate”, Harriet Caldwell uses fading strokes of earth tones, a child’s solemn face, and numerous bowls in order to symbolize the multitude of wrongly gassed people during the Holocaust.
Based on the title of the piece it is determined that the distorted and smoky strokes of pastel and earthly tones are a symbol of the gassing during the Holocaust. “Wash” symbolizes how the people were lured into thinking they were going to the showers, while “Eliminate” symbolizes how they were eventually killed in the chambers. Caldwell’s use of beeswax and oil shows how she purposely made the earth tones to look like gas. The child’s picture being faded also shows how after being gassed their identity disappears. Harriet Caldwell spreads these strokes over the entire piece, the majority being on the two outer panels with the center panel being more distorted. This is an effort to show and emphasize how exactly the gas killed many of the victims and the vast overall impact of the Holocaust.
The child’s image in the center shows how the involvement of children during the Holocaust affected Caldwell. Many of Caldwell’s pieces depict a child’s image. The placement of the image in this piece makes the viewer think of how important the child is. There were so many children killed during the Holocaust for awful reasons. The child symbolizes the majority of innocent people who were targeted and killed. These victims had done practically nothing other than being Jewish, Polish, gay or being strong enough to stand up against the murders among other reasons. Harriet Caldwell uses the sullen child’s face to emphasize the thoughtless murders of millions of men, women and children.
Also in the painting, Caldwell used xerography to import images of the bowl memorial and uses oil to paint the numerous scattered bowls. These bowls represent the victims of the Holocaust, and the abundance of these bowls represents how many of these victims there were. There was a memorial where mourners had put lit candles in bowls to show respect for the dead, this was presented in the center panel. Residents of the concentration camps were abused of healthy amounts of food in bowls like in the painting.  Caldwell also paints some bowls on the outer panels but has them unclean and carelessly placed and treated, very similar to how the Holocaust victims were treated. The involvement of bowls as a symbol of the victims during the Holocaust is very evident in the painting “Eat, Wash, Eliminate”.
Harriet Caldwell’s painting is very symbolic of some of the events in the Holocaust. “Eat, Wash, Eliminate” has many elements that emphasize certain stories and things that happened in the event. Caldwell uses spreading strokes of earthly and smoky tones to symbolize the impact and effects gassing had. She also uses the focal point of the child’s picture to symbolize the innocence of the victims. Another element in the piece is the number of bowls on each panel; Caldwell uses these bowls to symbolize the issues all these people went through. “Eat, Wash, Eliminate” has many elements of the Holocaust and symbolizes the feelings and events of this calamity. 

Thursday, February 17, 2011

Declaration


I chose the concept of innocence for many reasons. Out of my brainstorms I came up with multiple ideas and this was the most concrete and diverse idea. I also chose to include the lack of innocence to go along with it. The definition of innocence is harmlessness, freedom from sin or moral wrong, or guiltlessness, while lack of innocence is just the opposite. Usually innocence is going to be portrayed as children or cute little animals or even the Holocaust victims, but as to allow more paintings and pieces of art I figured that the lack of innocence would open up the doors to depictions of Hell, and possibly courts.  Throughout the ages there has been debates on the levels of innocence for the underage mothers, homosexuals, Jews, Negroes, etc, based on opinions. Innocence could be the feeling internally of doing something by mistake (or being mentally unhealthy) and insisting on no punishment. Or the actual feeling of never having done something viewed as bad or sinful. The punishments for lack of innocence could be the convictions in court to go to a jail, Hell, or just the overall emotion of guilt. I think it would be interesting to see people’s different views on innocence depending on personal and religious beliefs. I will definitely enjoy researching and following though with my concept of innocence (and lack of).