Woe is Me Project Statement

Woe is Me

Woe is me, a phrase often used to represent the self-pitying nature of one to reference the negative state of being. It can also be weaponized against the same individual to dismiss their trauma or the validity of emotions that appear as unproductive. In both cases it can lead to a form of self-isolation, suppression of negative emotional states and deeper bouts of depression. After operating in this frame of mind for some time even when attempting to open oneself back up any sign of betrayal, or abandonment leads back to the same self-fulfilling prophecy. “I can not open myself up again because it will only lead to being hurt again.”

In this body of work, I have used the concept of Black Frankenstein as a metaphor for the demonization of African American males specifically representation in popular media. The character depicted named Woe is a combination of these monstruous traits imposed on the black body while, struggling to come to terms with his own humanity. The original Frankenstein by Merry Shelly acts a source of inspiration, where her own monster learns what it means to become human, yearning for love and acceptance but is ultimately rejected due to his physical appearance. This is the case where the monster spends time living within the cottage learning to speak, read, culture and history before revealing himself and being violently rejected once again. It’s this portion of the story where my interpretation of the work begins.

What we see is an individual who has been demonized and rejected by society seeking isolation in an old barn. How long this period was is unknown, but it is long enough that the only company he can keep is himself, and from an outside observers view he becomes steeped in folklore as the being that haunts this space. It is this time where different forms of emotion splinter into the mental states that keep him company. This barn acts as a shelter rather than a home where his self-internment slowly overwhelms him.

This barn becomes a place of local legend where the myth attracts visitors but Woe either continues to hide or scares them away. After what feels like an unending isolation, he becomes interested in a new visitor letting his curiosity get the best of and approaches the guest. This individual quickly captures him and confining Woe pen in his own shelter. Even though he is imprisoned within his own shelter the absence of choice robs him of what little freedom he had. After some time, he was to be put up for auction but it’s not only his body that is for sale it is his legend; the myth of this monster and what power that his legend holds. In the end his escape and resulting vengeance represent the reclamation of his own narrative.

My process started with the creation of the masks that are worn to represent different emotional states that the protagonist would go through during this period of isolation curiosity and capture. I look at them as how some one who does not know how to approach emotion might compensate. For myself tears were a form of weakness, fear was a form of weakness, pain was a form of weakness; so, you mask it with a smile but even then you couldn’t mask that pain in the eyes. This also reflects the absence of pure joy or positive emotions that are unpolluted by some of the more negative emotions. Those masks as well as the body were then adorned with slashes, reflecting the scares of past trauma both internal and external, by his own hands or those of another. Under the blacklight that which normally resides below the surface is laid bare and pushed to the forefront. Each resulting design reflected these sentiments suppression trauma and birthed the masks titled: Wrath, Fury, Mania, Anxiety, Anguish, Woe, Despair, and Lamentation. With each one screen printed pattern first, then each emotion before being sewn together.

The next stage in the process were eight different photoshoots under blacklight gradually working through this narrative that had gradually evolved. The entire project was born from my previous focus revolving around this concept of Black Frankenstein and a desire to cement what this metaphor means to me and how he might physically manifest. The ski mask or balaclava had been the vehicle used to represent this demonization of the black populace, as both a unifying symbol and its anonymous nature. The story presented helped introduce what this character means to me as well as the space he operates in the larger cultural landscape. The ignition source for this series was the moment I stepped into the Luther Barn that The Wassaic Project houses their summer artist in residence studios. Starting out my six months print fellowship with The Wassaic Project, I knew immediately that I would use the old auction ring and animal pens for a series that would incorporate a love of horror.

Walking through the barn a connection to horror couldn’t help but manifest. This eerie space felt like a home for something that didn’t want to be found. Through this environment the reoccurring question of what distinguishes black horror from other genres? What makes directors like Jordan Peele so effective? As a person of color what do I fear a result of systemic, interpersonal, and institutionalized racism? In this case the answer was that no matter how far I try to remove myself because of my appearance I may be taken against my will and no matter what I say another person’s testimony will hold more value than my own. With the narrative established I looked to the Mary Shelly’s Frankenstein as a vehicle to deliver it. More than that I have been utilizing this concept of black Frankenstein as a representation for the fears of the western society placed on the black body as a whole. What I wanted was to begin the character development for who Black Frankenstein is to me. In this way I see myself in the role of Dr. Frankenstein and Woe as my monster; a part of me yet separate. Culminating in a final series of final screen prints.

With the screen prints I challenged myself to figure out a way to deal with film and the stills themselves as a print maker. Showing the different positions and scenes within individual frames, leading to the multiplicity of the body itself. These prints along with the masks lined the walls of their final instillation. The instillation debut during The Wassaic Projects, Haunted Mill exhibition. For the instillation I wanted to create a space that acted as a place for Woe to reflect on the previous events. The prints line the walls as a projector plays the film, centered Woe is dressed in a suit watching the narrative play out. He paces back and forth walking laps contemplating and continuing his isolation. Even though there are visitors he cannot see them. They are ghosts to him as he is to them, operating on different planes of perspective. Akin to how just below the visible light spectrum Ultraviolet light continues to exist. Trapped there by choice all he must occupy his time are himself and the memories of what was.