{"id":1306,"date":"2022-02-01T10:00:00","date_gmt":"2022-02-01T10:00:00","guid":{"rendered":"https:\/\/ghadaamer.com\/?p=1306"},"modified":"2022-02-02T12:09:39","modified_gmt":"2022-02-02T12:09:39","slug":"mirror-mirror-on-the-wall","status":"publish","type":"post","link":"https:\/\/ghadaamer.com\/drawings\/mirror-mirror-on-the-wall\/","title":{"rendered":"Mirror, Mirror on the Wall"},"content":{"rendered":"\n

Barbie Trees <\/em>(2007) is a disenchanting fairy tale. It tells the story of how princesses become Barbie dolls and how princes are abandoned. In so doing, it holds up a mirror to its viewer, reflecting our assumptions straight back at us. <\/p>\n\n\n\n

Traditionally, fairy tales instill wonder in their audience. In narratives filled with talking animals and witches, spells abound to hook listeners or readers to the plot all while offering a moral or social commentary that reflects the social beliefs of the times in which they were written. If nineteenth century fairy tales are today rewritten in accordance with a more progressive and feminist society – one which considers a woman\u2019s place to have extended far beyond the confines of her prince\u2019s kingdom – Barbie Trees<\/em>, a collaborative monoprint by Ghada Amer and Reza Farkhondeh, <\/em>does more than simply reimagine an outdated tale. It questions the idea of the tale altogether.<\/p>\n\n\n\n

The wonder of fairy tales, according to literary critic Cristina Bacchilega, stems not from the magical narrative itself, but rather from the contradiction between the narrative\u2019s ability to uphold social beliefs and its subversive construction which undermines these (see Bacchilega, Postmodern Fairy Tales: Gender and Narrative Strategies<\/em>). This, she argues, is due to the fairy tales\u2019 artifice. \u201cTo break the magic spell, we must learn to recognize it as a spell that can be unmade.\u201d How then, does Barbie Trees <\/em>dispel fairy tale enchantment?<\/p>\n\n\n\n

Drawing and Dismantling the Fairy Tale World<\/h2>\n\n\n\n
\"\"\/
Fig. 1 Close-up of the dwarves in <\/em>Barbie Trees, 2007, RG, 40.5 x 51 in, lithograph and embroidery on STPI handmade cotton paper<\/em><\/figcaption><\/figure>\n\n\n\n

Three elements of this artwork plunge us into the fairy tale universe. First we have the two faded dwarves from the Grimm brothers\u2019 fairy tale \u201cSnow White\u201d as well as the recurring prince mentioned in the six embroidered circles that spell out \u201cWe Left Charming Prince Behind.\u201d And then there are the tall grey trees that offer the backdrop of the story; they constitute the forest in which magic and mystery unfold in tales like \u201cSnow White,\u201d \u201cSleeping Beauty\u201d or \u201cLittle Red Riding Hood.\u201d But in the monoprint, each of these elements is somehow twisted, drawing our attention to the tale\u2019s artifice. The dwarves shed their friendly character and instead appear to be conspiring in a corner. The prince who is archetypally known as \u201cPrince Charming\u201d becomes \u201cCharming Prince,\u201d a shift from name to description, from an identity to a trait of character. Even the trees are altered as they are rootless, floating as though by enchantment. Finding ourselves at the level of the branches, we do not watch the story unfold, but are rather immersed within it, suspended in mid-air.<\/p>\n\n\n\n

The greatest manipulation to the genre of the fairy tale in Ghada Amer and Reza Farkhondeh\u2019s monoprint  is the absence of any princess. Instead, we see not one, but seven Barbie dolls. The new protagonist of the story is a toy that embodies the fairy tale\u2019s contradiction that Bacchilega identifies. Thin and beautiful, the doll\u2019s existence upholds unattainable beauty standards imposed on women, and yet she is reduced to a representation. Her two-dimensional existence, as opposed to the more physical and lifelike three-dimensional plastic figure, reminds us of her construction. Moreover, the multiplicity of dolls in the lithograph divides B<\/em>arbie into b<\/em>arbies<\/em>. She is no longer whole; her identity is fragmented. The combination of these reversals destabilizes the fairy tale world and reveals its artifice to us as viewers.<\/p>\n\n\n\n

\"\"\/
Fig. 2 Close-up three of the barbies in <\/em>Barbie Trees<\/figcaption><\/figure>\n\n\n\n

The Magic Mirror: A Twist in the Tale<\/h2>\n\n\n\n

According to Bacchilega, nothing disrupts the magic of the fairy tale as much as  the mirror. A reflection, refraction and artificial frame of the tale, it simultaneously reveals and dismantles the fairy tale\u2019s gendered worldview (see Bacchilega). In Barbie Trees<\/em>, the embroidered circle acts as this mirror. Given their circular shape and because they are made of thread, the circles stand out in the foreground of the work. Even the words\u2019 colours make the circles pop. The red, green, pink, green, orange, blue and purple are more vivid than the grey trees or faded characters. Thus resembling a mirror, they offer a reflection of the fairy tale, granting us an entry into its narrative. The circle becomes the lens, the frame, through which we see the work.<\/p>\n\n\n\n

\"\"\/
Fig. 3 Close-up of one of the circles in <\/em>Barbie Trees<\/figcaption><\/figure>\n\n\n\n

However, just as a mirror offers an inverse image, seemingly faithful and yet a distortion of what it represents, so too does Barbie Trees<\/em> toy with the fairy tale it portrays. In its rebellious statement, the mirror-circle refracts the notions of gender that the fairy tale advances. \u201cWe Left Charming Prince Behind.\u201d The author of this statement is likely the story\u2019s protagonist, the Barbie dolls, who rebel by freeing themselves of their prince. <\/p>\n\n\n\n

We can imagine this act of rebellion as a physical movement whereby the dolls come out of hiding. Because Amer and Farkhondeh made the paper from scratch themselves, they embedded the Barbies into it. They, along with the dwarves (who represent entrapment in \u2018Snow White\u2019 because they wanted to keep the princess with them) are literally enmeshed in the fabric of this artwork, eclipsed by the trees printed over them. <\/p>\n\n\n\n

\"\"\/
Fig. 4 Close-up of an eclipsed barbie in <\/em>Barbie Trees<\/figcaption><\/figure>\n\n\n\n

But thanks to the thread that stitches the mirror-circle, the dolls do not remain relegated to the background. The repetition of the statement expresses the dolls\u2019 agency, the preposition \u201cbehind\u201d indicating mobility. We can imagine the dolls moving through the monoprint, from background to foreground. They come out of hiding and are at the level of the embroidered circles, the layer of the work closest to the viewer. The circle\u2019s round, hole-like shape, opens onto the world outside the fairy tale. If for viewers the circle offers an entry into the fairy tale world, it is for the Barbie dolls, an exit. Climbing through the circles, the Barbie dolls break through the narrative fourth wall. The fairy tale is no more.<\/p>\n\n\n\n

The end.<\/strong><\/p>\n\n\n\n

Work cited:<\/strong> Bacchilega, Cristina. Postmodern Fairy Tales: Gender and Narrative Strategies<\/em>. Pennsylvania: University of Pennsylvania Press, 1997.<\/p>\n","protected":false},"excerpt":{"rendered":"

Barbie Trees (2007) is a disenchanting fairy tale. It tells the story of how princesses become Barbie dolls and how princes are abandoned. In so doing, it holds up a mirror to its viewer, reflecting our assumptions straight back at us.  Traditionally, fairy tales instill wonder in their audience. In narratives filled with talking animals […]<\/p>\n","protected":false},"author":5,"featured_media":1309,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35,33,34],"tags":[67,66,68,48,62,20,60,22,14,21],"yoast_head":"\nMirror, Mirror on the Wall - Ghada Amer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ghadaamer.com\/drawings\/mirror-mirror-on-the-wall\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mirror, Mirror on the Wall - Ghada Amer\" \/>\n<meta property=\"og:description\" content=\"Barbie Trees (2007) is a disenchanting fairy tale. It tells the story of how princesses become Barbie dolls and how princes are abandoned. 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