Blog #2: A Visual Response to Assault

What I am reacting to:

https://www.buzzfeed.com/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra?utm_term=.avl68vZb35#.vwO6gDpzYe

2nd-blogFinalHaving seen multiple articles about this on social media, the Stanford sexual assault case was not unfamiliar. However, to read the victim’s letter about her traumatic experience strips all the news and legal discussion and leaves her own raw emotion. From beginning to end, the victim offers up her intimate details and painful retelling in complete honesty and vulnerability.

While there was so much raw personal information in this letter, what really caught my attention was the familiarity of it. As a woman, we are always told how to dress, go, and act in order to be safe in any setting. No dress is long enough, no laugh is modest enough and no night is carefree. Prior to this case, women are always told that this was their fault to some degree. In what other kind of legal case does the victim become the defendant almost every time?

 In the piece that I created, I used a quote that I feel held a great deal of power:

“It’s like if you were to read an article where a car was hit, and found dented, in a ditch. But maybe the car enjoyed being hit. Maybe the other car didn’t mean to hit it, just bump it up a little bit. Cars get in accidents all the time, people aren’t always paying attention, can we really say who’s at fault.”

If an object, like a car, is stolen or broken, the police check for finger prints and find those guilty. Why does there have to be so much doubt when it comes to a person? Especially in a case like this, even with witnesses and hospital records, the victim still goes through the pain, again and again. In my piece, I chose to show the car rather than people. To claim that on enjoys having their car hit is absurd and just tapping a bumper is not an excuse for an accident. These images and statements seem like common sense. However, replace those images and words with a victim and a predator, and notice how people blur the lines. This is the reason for the man reading his morning newspaper. The first story he’s reading is about a car crash. The next page, about a sexual assault victim. Both news worthy, but both handled very differently. Car’s get replaced, insurance covers damages and you move on. However, this victim, and other thousands and thousands of other sexual assault victims, can not call their insurance company and make it all go away. This is the reason why we, as society, and not only through the victims’ painful accounts, should be more vocal to de-stigmatize sexual assaults. We must focus on what is important. That is, rape is a sign of a society that has still not evolved. We may create the sophisticated technologies and make impressive scientific discoveries, but until rape is eliminated, we cannot call ourselves civilized. 

 

A Visual Response

For my research, I will be exploring the relationship between writing and art. For my first project, I created a visual response to two different kinds of short stories:

Responding to a Flash Story: “20 Minutes”

Read Original Story Here 

20 Minutes

Throughout history, humans have been looking for ways to be immortal. Life expectancies are always increasing, and we still look for more ways to keep our bodies alive.  Between prosthetics, medications and the long list of evolving technologies, humans and machines are not entirely separate. The story and imagery within “20 Minutes” by Catalina Florescu demonstrates how intertwined the organic and inorganic world has become.

For instance, the setting of a hospital room brings to mind sterile white beds, plain gray walls and heavy black cords. No color or comfort, especially with a comatose patient and a grieving lover. However, the woman looks out the window to a cherry tree. She describes how the rain washed away the petals, but, as witnessed annually, the cherry “would grow other [petals] next year. However, when overcome by the inevitable death of a loved one, the woman seems to think he will still be there next year, like the cherry blossoms; “this is a clear sign in the story when, as readers, we realize that the human body, at least in some cases and/or towards the end, is not resourceful enough to attempt a successful return to health and normal function.”.

Then, our life cycle has become wrapped up in what is natural and unnatural. The idea that we can live forever is a beautiful fantasy while the reality is we are still mortal creatures. The cherry tree is light, beautiful image that contrasts with the heavy dark wire, which the woman totally distraught by suffering uses it to take her life. The man’s life ends with the unplugging of a machine and the woman’s ends with the twisting of the same cord. Both deaths occur by the cord while the backdrop of the outside world is beautiful and organic. Therefore, through a simple narrative device, the story takes us back to its beginning where two worlds, organic and inorganic, humans and machines, seem to create some sort of dialogue and ask us, the readers, to think further to discover other ways to investigates the limits of our embodiment.

In this illustration, I reduced the story to the cherry branch and the cord. With thin, delicate arms, the cherry tree branch represents the fragility of life within the piece. A simple rain washes away the petals like grief washes away the woman’s life. On the other hand, the thick black cord cuts through the branch like the harsh reality of morality. The snake like qualities also echo to the Adam and Eve reference within the piece. Like the snake in the Bible, the cord ends a relationship that was once perfect.

To a Personal Piece: “My Blue Escape, My Otherness of Being”

Read Original Story Here

 

In this piece, the author, Catalina Florescu, discusses her mother’s cancer and the effect it had on her life. Along with personal reactions to her mother’s diagnosis and then passing, the piece reminisces on the times of the author’s young life with her mother. She talks about the connection she felt with her mother’s sickness and how it related to her own being.

Though the story is extremely personal, there are aspects that extend to the wider experience of those with a serious illness and their loved ones. Although we like to think we are invincible, humans are delicate creatures. Our bodies wear and expire, and our emotions are tested time and time again. Whether one is sick or someone close to them is sick, it’s like being ripped apart emotionally and physically. Doctors cut and stitch in the literal since. Loved ones take memories in the same way the author clings to memories of her mother when she was healthy. We ourselves take a toll on our bodies. As it says in the piece, “We wear our bodies almost uninterruptedly, from dawn until night”. We try very hard to hold ourselves together, till we simply can no longer.

In this illustration, I wanted to demonstrate that feeling of being torn up emotionally, in a physical way. All the pieces of the woman are flying outward as if a pressure inside is exploding. The pressure of the stress and emotion that come with terminal illness are overwhelming. However, I made the conscious choice to keep the wounds to be within the areas describes in the piece (arms and breasts). Her nakedness represents that vulnerability one feels when the loose control of their body.  The only thing that keeps her from being completely exposed is the blue fabric. The author holds on the memory of the blue dress for comfort when thinking about her mother. The figure has the blue clothe wrapped around her for some remaining comfort.