Suffocation of Something Beautiful

Of all the beautiful artwork published in Élan, the piece that resonated that most with me is probably Slow as Molasses by Isabella Gardner. Not only are the aesthetics of this piece incredible, but the different meanings that could be behind it, how it connects to the pieces on either side of it, and how it connects to Élan as a whole are all amazing.

How this piece looks visually on the page is both intense and beautiful. While it’s drawn completely in black and white, the contrasts between the woman, the wall behind her, the bee, and the molasses dripping from her head allows for a lot of interpretation about light and color, even without those being present in the piece. The details of the woman’s lips and eyes allow for a lot of interpretation about what’s happening in the work; while the bees, which are often seen as symbol for discovering personal power, and the woman’s facial expression, which looks somewhere between self-discovery and pain, she’s also drowning in molasses, something incredibly sweet. Despite bees having stingers, the woman looks as though she’s being awakened as she’s being drowned and stung, and despite its ambiguity, the piece allows for a lot of personal interpretation. I personally see the work as a representation of how we often drown in our own vices and pleasures.

The piece also pairs incredibly effectively with the pieces around it. Altar Serving by Jaclyn Berry explores a girl finding pleasure in a time of intense emotional pain and stress, and Recipe for Baked Potato by Noland Blain explores themes of suffocation and the painful, unhealthy aspects of something delicious. As well as being one of the most thoughtful and beautiful pieces we’ve ever published, I think part of the reason it stands out in my mind is how it complements the writing and brings out themes in all three of the pieces that may not have been clear without the pairing

I also feel as though this piece epitomizes the message of Élan. We try to select pieces for our books that we feel are not only thoughtful and aesthetically pleasing, but also pieces that invoke an emotional reaction in the reader and that explores themes deeper than what’s merely on the surface. This piece allows for a vast amount of interpretations, is beautiful on the page, and totally fits in with the theme of the entire spring 2017 edition.

– Oona Roberts, Senior Layout and Design Editor

Exhaustion Personified in Paint

As the Junior Art Editor of the Fall 2017 issue of Élan, one of the pieces I reviewed that resonated with me the most would be “Wind Up Boy”. Stylistically, one can see how it can catch a viewer’s gaze. The artist very masterfully creates a face for the portrayed character, immediately drawing attention to the rest of the piece and its meaning. The color scheme and the position of the boy also work to add a layer of depth to the message. To fully understand the striking aspects that the artist is able to convey in this piece, it must simply be seen through its original medium, as I do not believe a recreation of it through words will be able to truly illustrate its traits.

Though the meaning may vary for others viewing the piece, I believe the most resonating intent to be pulled away is the idea that this boy keeps having to wind himself up again to function. However, considering how his key is in his back, I am led to believe that it is someone else he depends on to turn this key for him. In this, he is unable to motivate himself to be productive unless another he relies on keeps him standing and walking forwards in a thoughtless, mechanical manner. When all of the turns of the key are used up, the boy simply falls again in exhaustion. He possibly contemplates never standing again. In this, I believe specific image can strike many viewers in a meaningful way. I find this piece to not only be well done, but to be carrying universality as well.

I believe the reason this piece is so intriguing to me is because I feel I can relate to the boy in this period of my life. As an upperclassman in high school, I realize the looming responsibilities following graduation and the possibilities of further education. Not only is there a decision to be made, but there are also obstacles of others expectations for you and the thoughtless mistakes of your past holding you back. Currently, in preparation for college, I have found myself swamped in activities inside and outside of school. This is done in order to further accomplishments that may be listed on my college applications. Often times, however, after I work so hard on something with no immediate result, it can become exhausting to continue. Whether it be a supportive friend or a good coffee, I find that I am often in need of something or someone to simply wind me back up. This way, I can again continue on my way towards the future I want by using the mechanical methods the key dictates. Though I realize it is an exhausting way to live, I still continue towards my goals in life. In a sense, this piece reminds me of this struggle and the fact that it is possible to move through it. Though exhaustion follows all your ventures, it is rare that you are left without anything to help one continue moving forwards. The artist of “Wind Up Boy” ironically demonstrates it as she clearly worked tirelessly to create this image of giving up, reflecting an emotion she must have felt before or during the creation of this piece of art.

This piece can then, through its universality, possibly be able to reflect the states of artists submitted into Élan. Without the ability to be wound back up again and to continue work, we may not have made it as far as we have today.

–Kathryn Wallis, Junior Art Editor

The Artist’s Inspiration

Being a writer, I am always looking for a sort of inspiration and depth; images that delve into the mind and explore the deepest desires within us all. This is exactly the reason I chose the piece Blank by Jasmine Hernandez as my favorite art piece. Not only does Blank split the idea of love open under a microscope, but the artist uses contrasting colors and vivid detail to engage the reader and tell a story no one else can. In it, I see the idea of human connection. The heart, which has always seemed to embody the emotions hiding within us, is in the exterior bringing into question a subtle battle between external and internal that I am too familiar with as a writer.

This conflict is what I always seek for in my writing. I use my character’s desires and needs to fuel the piece, allowing them to tell their own story, and that is what I feel that this piece does. I fell in love with this art for the same reason I fell in love with writing; having the ability to craft something new and give readers something to think about. Here we are viewing the struggle between an exterior world and interior emotions, which is both individual and universal, striving to strike a chord with all who see it.

I believe that the piece also represents Elan in this way as well. The art gives every person a voice by expressing the “heart” within us all, and I believe that this is also the mission of our literary magazine. We strive to make artists voices heard and express the emotions found within each and every one of them. As a team, we put a book into the world which holds something that cannot be recreated and is all new. After being on the Elan staff for almost three months now and finally experiencing what it feels like to upload a finalized issue, I can say that the book feels just like the heart in the piece. The art and everything in the book strive to evoke new emotions and with each twist and turn there is something lying under the surface you didn’t expect. To the staff, Elan is our heart and it is something which we hope to share externally in order to captivate an audience within.

I love this piece and Elan because they allow for the exploration into the self without confinement; they bring emotions to the forefront and speak not only about our emotions, but also the connection of our physical being and the things we feel.

–Lexey Wilson, Junior Editor-in-Chief