Essay Example - parsed with labeled sections
Frida Kahlo, Scarred Warrior-Artist of Pain
HOOK -> THESIS -> PARA 1 -> PARA 2 -> PARA 3 -> COUNTER- ARGUMENT & REBUTTAL -> RESTATEMENT & CONCLUSION -> |
Throughout history, it has been commonplace to witness negative life experiences being used to encourage artistic exploration in poetry, music, and artwork.
One of the most celebrated Mexican painters, Frida Kahlo, transformed the instability and trauma faced in her life into beautiful, unique, and inspiring artwork, yet did not hide the internal psychological reality of a deeply mentally and physiologically traumatized woman. Due to her emotional instability, stemming from traumatic experiences in her life, Frida’s art manifested in a style which we now recognize as dissociative in nature. The psychological phenomenon of dissociation is described as one’s mental detachment from immediate surroundings, including mental departure from current physical and emotional experiences. By exploring this type of dissociation in her art, Frida was able to convey her own emotional experiences while remaining detached from the subject of her suffering. If Frida Kahlo had not experienced the many tragedies that she faced in her life, much of her work would likely have never existed, as her suffering was the source of so much of her artistic vision. By understanding the life of Frida Kahlo and applying that insight into analyzing her work, it is possible to identify not only the dissociative barriers present in her artwork, but to also elucidate the meaning of the word instability. Kahlo’s work expresses her pain and instability by creating images and environments in which her trauma is present, but she herself is detached from the experiences. From her masterly staged, egotistical self-portraits, to her environmental artwork, Kahlo’s creations can be interpreted as a painted autobiography because they deal with her difficult life situations, and moreover, her physical pain. It is for these elements in her artwork that Kahlo became known as the “painter of pain.” Kahlo explained, “I paint my own reality. The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any consideration.” The mental instability Kahlo faced allowed her to create an alternative reality through her paintings, in which we are able to witness her pain, and see how she separates herself from it. Many of Kahlo’s works were self-portraits, because she was so often alone; as she said, ‘I am the person I know best’. Her self-portraits alone can be considered autobiographical as they often formed an alternate self that shared and reflected her feelings. Throughout the series of portraits her gaze remains steady, staring out to the viewer, imploring us to engage and understand her. She depicts herself upright and strong, as if they were painted to confirm her tenuous hold on life. According to Rupert Gracia, Kahlo’s paintings, particularly her self-portraits were ‘clever and skillful depictions that simultaneously mask and reveal her unbearable pain of the body and spirit’. He believed that many of her paintings vividly represent her personal crises.” One famous work in which Kahlo dissociates herself from her emotional and physical trauma is her 1946 painting, “The Little Deer.” (189, Herrera) In “The Little Deer,” Kahlo takes the form of a young stag running in the woods, with her human head attached to its animal body. Nine arrows pierce the deer’s body, yet once again Kahlo’s face remains separate from the pain such violence should cause. Her facial expression gives viewers the impression that she split off the painful part of her identity and has left her imprisoning human form behind. In 1946, Frida Kahlo underwent spine surgery in New York. She had high hopes that the surgery would free her from the inescapable physical pain her failing body had subjected her to. The operation was not successful, and through this painting, Frida expresses her disappointment towards the operation. At the lower-left corner, Kahlo writes the word “Carma,” which means “destiny” or “fate.” It becomes clear that Kahlo is using this painting to express her sadness towards the failed procedure, and acceptance that she cannot change her own fate. Kahlo is representing herself as a deer, not only to separate herself from her limiting human form, but to prove she has the power to overcome the challenges she has faced in her life. Though the deer is wounded, it is still running, representing her determination to escape her trauma. There are many people who would prefer to ignore the painful images and philosophy in Kahlo's art, focusing on her energetic feminism, her radical beliefs, her empowering portraits, and other positive messages. Yet Kahlo’s art cannot be viewed separately from her trauma. She brings power to the word instability by standing up to her own impotence, achieved by dissociating herself from the actual issues she was facing through her artwork. In this way, Kahlo gives herself power over her many misfortunes. Using stoic facial expressions and fantastical physical form, she shows her viewers that she is not afraid of the instability or tragedy she has faced, and that she will overcome it, even if it is just through her artwork. Whether it is achieved through taking the form of an animal, illustrated in an intensive self-portrait, or turning her body into an inanimate structure, Kahlo creates an emotionally powerful and empowering stance for herself in the art world. If Kahlo had not faced the tragedies she had in her life, the messages found in her paintings would not hold the same power. It is because of the mental and physical struggles that she faced, that she found a way to dissociate herself from her issues in her artwork. Without these methods to further remove herself from these issues, her work would likely not have achieved the same level of celebration. By including a dissociative style to her work, and remaining fearless despite her trauma, pain, and sorrows, Frida Kahlo was able to effectively overcome instability through her art. |