VOGUE copyright Conde Nast
© 2014 h2omeloncholy@blogspot.com
© 2014 KM Fikes
Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content. No excerpt or link may be used for monetary compensation.
Yet the bride? Is the inno¢ betrothed bracing herself against an undigestable Truth surrounding her? Or is this ragged palpability of H2Omeloncholy™ the very fear? Does she clutch the rind in an ill-fated attempt to temper rhythmic n' blue, plate-tectonic existentialism - failing to demote, a. k. a. appropriate or coopt Other-ed Ethnic angst as Dominant Cult's (her) own prop? Is Kahlo - if not indicting - at least mocking Priv's tendency towards intrusion; inclusion, taken for granted?
C'mon, gentlesoulfolk. Ain't just me. Can't be.
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| The Bride Frightened At Seeing Life Opened |
Frida Kahlo. Completed, 1939; updated, 1943. Unibrow meet uniVISIONary. Third 'ay'.
Could a dissOrientalized artist have chosen a title for her still life that might possibly betta portend Dominant Cult's "fear to tread" near H2Omeloncholy™ and consequential ceremonious, absurdist, quantum leap down the aisle to POSTopia wherein abundant or fruitful Priv 'weds' subConscious hierarchical hysteria?
Who's 'on top'? 'Produce' on high? Papaya at twelve o'clock. Dig it - space/time split open to reveal itself as unapologetically vaginal in presentation. A feminine star exposed and even aroused. Shining down upon the rest. The star's beam or ray? Compressed black seeds whilst watermelon seeds are interspersed. Ay, since H2Omeloncholia™ struggles to effectively commune. Next, pray ye, note the placement of phallic plantains - sidelined - i. e., 'done gone bananas' next to a cocoNUT. O, the augury of it all! 'Grasshoppa'? A futuristic as fictional martial art protégé lands upon the 'bruised' skin. Ms. Kahlo's 'brush' charges the self-defendin', burgeoning and perchance, bourgeois-bordered-naïve sage insect to challenge the surrealist 'scene'. This motif of lunacy in-conflict-with-itself is further juxtaposed next to a perched owl. With eye steady on some horizon. Beneath her lone bushy brow, Kahlo's self-portraiture ever owned Gaze. Wisdom..."come home to roost". From left to right, peep thee - long - behind black-spotted plantains/ Kung Fu-Freudian 'Grasshoppa'/ pubic fuzz on da 'face' of whole, uncut cocoNUT/ Malcom X oratory chicken owl.
Shared background, my good peops, the singular commonality? Jacked-up, jagged melon! Kahlo winks: vibrantly animating the otherwise ambivalent gourd, creating mountain 'ranges' with peaks and valleys. Far too intimate with the contours of a broken body, earthly curves may have proved rather natural to paint as 'pointed' geometric angles. Surgical-precision-ed sensuality thru a landscape cutting as coy. In painting this conceivable meta-narrative of Kahlo's own physiology, she shares quite the thoughtful 'terrain' as a generous rendering of H2Omeloncholy's breadth n' depth. Daring to be embodied. Sharp in its un-common ground-ing.
“Only one mountain can know the core of another mountain.”
Frida Kahlo to Diego Rivera
Frida Kahlo to Diego Rivera
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| Frida Stomach Down by Nickolas Muray, 1946 © Frida Kahlo Museum |
Yet the bride? Is the inno¢ betrothed bracing herself against an undigestable Truth surrounding her? Or is this ragged palpability of H2Omeloncholy™ the very fear? Does she clutch the rind in an ill-fated attempt to temper rhythmic n' blue, plate-tectonic existentialism - failing to demote, a. k. a. appropriate or coopt Other-ed Ethnic angst as Dominant Cult's (her) own prop? Is Kahlo - if not indicting - at least mocking Priv's tendency towards intrusion; inclusion, taken for granted?
C'mon, gentlesoulfolk. Ain't just me. Can't be.
Now, back to the owl? 'Tis the only subject in the foreground to overlap two otha fruits: orange n' pineapple. Curiously, pineapple, coconut, and watermelon require not a butter knife to 'open' but nigh-knighted sword. Kahlo takes no mallet to coconut nor does her artistry subject pineapple to the sculptor's chisel. Her tropical repast is left intact. Howeva, be it upon butcher or auction block, one is naked. Laid bare with flesh shackled sliced. Why not set pineapple n' coconut - too - free? Free...to be devoured. Was the post - Mexican Revolutionary exhausted from weathering the summit of H2Omeloncholy™? Might the 'tough exterior' of visability constitute enuf of a banquet? If so, then on with simpler citrus.
Orange = sun or 'light'. Our nocturnal owl practically covers the orange, shrewdly concealing alleged enlightenment. Diligently critical of accepted or conventional or 'Dominant' discourse erroneously promoted to that realm deemed Knowledge.
Pineapple = 'monogrammed' welcome mat. Pineapple happens to be universally acknowledged as symbolizing hospitality. Doth not Other-ed Ethnic's exiled and thereby volatile citizenry hope to encounter a gracious 'host'? Depicted as the work's 'mature' force and positioned farthest from the 'cornered' bride - not incidentally blue-eyed and blonde-tressed...as drawn by a queer, communist, disabled creative of color - perchance, Extra Terrestrialized H2Omeloncholic bird ruffles a brown feather to "phone home".
Hoo...(H2O)...Hoo...
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| Frida Kahlo after an Operation by Antonio Kahlo, 1946 © Frida Kahlo Museum |
a clever as compassionate critique
on the implausibility of
POSTness
Til our next 'post', feast upon produce in season...
© 2014 KM Fikes
© 2014 h2omeloncholy@blogspot.com
Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content. No excerpt or link may be used for monetary compensation.
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