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| 'Berger: Sugar Blossoms' 2013 By Alexandra Ball |
Category: Anthropomorphism
Alexandra Ball has used anthropomorphism in a less conventional way in this illustration ‘Berger: Sugar Blossoms.’ Randy Malamud says “We come to expect that animals should ‘live’ in this realm” … “which means displacing and transplanting them from their natural contexts” (4) however, Ball has anthropomorphised the animals within their own habitat, as you can see with the branch of the tree. She has simplified the surroundings in order to concentrate the main focus on the anthropomorphic animals. This is affective as the eye is held by the main message in the illustration that Ball is conveying. Ball is reflecting the view of vanity that humans are increasingly infatuated by and the understanding that “all that is required is to paint on a human face.” (5) Positioning the lizard in a lady like manner; looking in the mirror; applying make-up; combing her hair, becomes comical and replicates how we humans “have become habituated to over writing authentic, natural animals with a script that amuses or benefits or otherwise satisfies our cultural cravings.”(6) To mirror this strange view that humans have somehow become obsessed over, Ball has included an owl. The owl has been anthropomorphised as it is holding its head with disapproval, demonstrating how other people are perplexed by the strong hold that vanity seems to have over us. Nevertheless she shows how it is still an animal by not pushing its “displacement into our own world, where they are subject to the practices, habits and desires” (7) of us humans and she has done this by not drawing on human clothes or giving it a more human-like face, like how she has characterised the lizard.
Alexandra Ball has used anthropomorphism in a less conventional way in this illustration ‘Berger: Sugar Blossoms.’ Randy Malamud says “We come to expect that animals should ‘live’ in this realm” … “which means displacing and transplanting them from their natural contexts” (4) however, Ball has anthropomorphised the animals within their own habitat, as you can see with the branch of the tree. She has simplified the surroundings in order to concentrate the main focus on the anthropomorphic animals. This is affective as the eye is held by the main message in the illustration that Ball is conveying. Ball is reflecting the view of vanity that humans are increasingly infatuated by and the understanding that “all that is required is to paint on a human face.” (5) Positioning the lizard in a lady like manner; looking in the mirror; applying make-up; combing her hair, becomes comical and replicates how we humans “have become habituated to over writing authentic, natural animals with a script that amuses or benefits or otherwise satisfies our cultural cravings.”(6) To mirror this strange view that humans have somehow become obsessed over, Ball has included an owl. The owl has been anthropomorphised as it is holding its head with disapproval, demonstrating how other people are perplexed by the strong hold that vanity seems to have over us. Nevertheless she shows how it is still an animal by not pushing its “displacement into our own world, where they are subject to the practices, habits and desires” (7) of us humans and she has done this by not drawing on human clothes or giving it a more human-like face, like how she has characterised the lizard.
References:
(4) Malamud. R (2012) Page 2
(5) Fisher. J (1991) Page 61
(6) Malamud. R (2012) Page 3
(7) Malamud. R (2012) Page 3
(4) Malamud. R (2012) Page 2
(5) Fisher. J (1991) Page 61
(6) Malamud. R (2012) Page 3
(7) Malamud. R (2012) Page 3
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