Badlands
Badlands © Sharon Shapiro (2006)
Best Interpretation: “This painting is an anthem, or monument, for feminist determination, with an aside credit to stealth. Standing knee-deep in the stride-slowing water, the figure nevertheless shows a reared-back and undefensive strength and confidence to face whatever approaches (and something is either approaching or being observed in anticipation of having to be dealt with).” […Read all] -Mike T.
The Artist’s Secrets: “I just went and read all of the interpretations and I have to say that this one (#6, below) is such an amazing interpretation—it’s as if he (Mike T?) wrote exactly what I couldn’t say in words so I had to paint it. I love it!
I went to Mt. Rushmore years ago when I drove out west and the landscape and the sky in South Dakota made a big impression on me. I love that area called Badlands—it is such a poetic name for a place. It seemed like anything was possible in all of that vastness. I had been in LA for a show of my work in 2005, and I bought this dress that I saw in the window of a boutique on 3rd Street, right around the corner from where I was staying. I got home and hung the dress up in my room in the window and I woke up one morning and realized I had to paint it. I had the idea that the ‘founding fathers’ should be coming up out of water, or sinking into the water, one or the other—or both. There is a wading pool in a city park about a half mile from my house, and I climbed the fence one day and had my friend take photos of me in the dress in the pool. I wore the mask because a good friend of mine had a dream that week that I painted myself wearing a mask, as I had been doing some self-portraits at that time. I liked the way the black mask contrasted the ‘white mask’ of the men’s faces. Out of all the photos that we took that day of me in the pool in the dress, I liked this one best because of my posture; it’s as if I’m George Washington crossing the Delaware—which I felt was a good metaphor for entering into unknown territory a little less afraid and bit more confident than in the past. I liked that a woman (me) is literally wearing the men at the hem of her skirt, which can mean several different things.” -Sharon Shapiro
Issue Oct 2007
Contemporary
6 Responses to “Badlands”
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Nice illustration/painting. Is it an ad for a fashion company? Is the company called “Badlands”?
This painting is called “Badlands” because Mt. Rushmore is on the figure’s dress. Mt. Rushmore is in South Dakota, as is Badlands. I believe there is nod to feminism because there are four men on her dress, also they are partially submersed in water.
The figure is standing tall and strong, looking towards her future.
Global warming… this is a warning. The water level will rise, oceans, lakes, rivers will flood. Mount Rushmore will be nearly underwater like it is in the painting. The woman is uninterested in her impact of this future, she is wearing a mask and is looking the other way. Just like most people who still drive trucks, hummers and never ride a bike, bus or walk to work.
Soon you will swim to Mt. Rushmore… not drive.
She is a model wearing a piece from the sea, a shining sea collection by Karl Largerfeld. Instead of a catwalk there is a shallow waiting pool to represent the oceans.
I dunno.
The world is gonna make a close pass by the sun and all the ice will melt, and fill the Grand Canyon.
Mount Rushmore is not high enough.
This painting is an anthem, or monument, for feminist determination, with an aside credit to stealth. Standing knee-deep in the stride-slowing water, the figure nevertheless shows a reared-back and undefensive strength and confidence to face whatever approaches (and something is either approaching or being observed in anticipation of having to be dealt with). So, the common recurring nightmare of trying in vain to run in deep water seems less of a threat. But those figures of “great dead white men” do represent a progress-impeding weight, so striking into motion will take some effort. And the mask seems necessary to stoke her confidence against whatever surprises are in store, much like a policeman’s reflecting sunglasses as he walks up to a pulled over car with occupants unknown. Still, the wind appears at her back, by the looks of the trees, and there is more open space before her than behind. She’s donned the lifeless black and white of the stone-cold male world, but seems physically at home in the natural blue and green of water and trees and air, where it looks like whatever encounter looms is to occur, so you’ve got to bet on her, whether she’s the cobra or the mongoose in the coming confrontation.