NAT IONAL ARTICUL AT I ON COM P ET I T I ON F I N A L I ST
Nor P O L LY
By Georgia Bennett
T
he age of social media has brought upon us a brilliant way to make friends accessibly and easily across the world, promote important messages as well as other positive things. But, it has also brought this suffocating wave of unrealistic societal expectations and a desperation for validation from strangers. Counteracting and rebelling against this culture of judgment is Illustration Artist Polly Nor. Nor creates unapologetic and empowering pieces of art, depicting the lives of everyday women behind closed doors, revealing their true habits and inner thoughts – however intimate or deviant they might be perceived. Polly Nor’s work, made by digitally editing pen drawings, shows the demon within every woman. Nor’s depiction of the demons are humorous and human. They are a vivid, rich, red colour, which normally would have connotations of blood, sin and fire. Nor plays on that idea to add an element of gore but in a simple cartoon effect. The colour red is also used as a metaphor across literature, representing violence, dreams, passion and sexuality; the full and deep-toned red, prominent throughout her work, shows power and fierceness. Nor chooses not to use white, as it is often seen as virginal and angelic in traditional art. The demons are content and smug, but most importantly, a reflection of the women’s most private and deprived thoughts. In my chosen nine piece series, Nor’s inspiration for the devils is to “face your demons.’’ A female character attempts to kill a devil, quickly followed by the 12
realisation that it is impossible, as it lives within her, thus showing the comfort and relief felt when released from the personal imprisonment caused by trying to become someone else; instead, the character experiences self-acceptance and relaxes into the arms of the devil. The devil appears sunken and deflated, possibly showing our female’s internal battles and need to conceal what is beneath. Nonetheless, although the demon is being cut open by the woman, it still appears unbothered, possibly because it knows that it cannot be killed, as it is the manifestation of the woman’s anxieties and desires. These digital illustrations, in contrast to Nor’s typically more colourful work, include just three prominent colours: red, pink and beige. The nakedness of these colours depict vulnerability and ensure that the viewer’s focus is on the characters and the story being created. The relaxed and muted tones also help to add serenity to the quite chaotic scene. The small details in this series really help to add character. For instance, the pristine, painted nails, emphasise her femininity and incessant need for perfection or to show that women can be both stereotypically feminine as well as being an advocate for feminism. There being nine parts to this series, could also have its own significance. Biblically, this number can convey finality and when shown in a cycle, suggests completion of an era – here, the end of an era of disillusion and self-loathing. This series could also be linked to the nine circles of hell in Dante’s ‘Divine
Comedy’, showing the journey towards Satan. But instead of displaying a loss of humanity, Nor is embracing true humanity and showing the journey towards the devil as a positive one. In the first image, the appearance of the woman could have connotations of classical nudes such as Sandro Botticelli’s ‘The Birth of Venus’ (with the long, blonde hair, bare pale skin), but instead shown from a more dynamic angle, displaying freckles, dimples and cellulite as well as her having a more dominant presence. The woman is far less sexualised and promiscuous, showing that women do not need to be widely desired to feel validated. In image three, we see that the woman has cut the devil in the chest; this could be compared to Jesus’ stigmata from the crucifixion, which is visible in paintings such as ‘The Man of Sorrows’, by Hans Memling. Both show sacrifice for a better future. Also, instead of a lance or a more violent weapon, the woman uses a kitchen knife, which could represent a domestic stereotype or her unwillingness to be aggressive. Next we see the woman sewing up the wound in a panic, showing conflict between killing and saving, an idea comparable to Jesus’ death. This also, possibly, presents women as almighty beings, who are powerful and healing. In image seven we see the woman clinging to the devil, whose fingers appear elongated, which creates a stealthy and menacing likeness, contrasting with the woman’s well-kept and somewhat dainty hands. Then finally, in image nine, we see the woman’s mask, sat next to the devil’s; the mask has a forced smile, wide eyes, clear skin and perfect hair – showing she is literally and metaphorically embracing her inner demon. Many of us are guilty of constantly comparing our own lives to the filtered ones of others. But obsessing and worshipping lifestyles of celebrities will never satisfy our longing for meaning. Polly Nor advocates self-acceptance, focusing on how her characters feel rather than how attractive they are. Nor expresses that our repressed emotions are not something to ignore. The devil represents ‘an emblem of resistance against culture conditioning or at the very least the acknowledgment of it.’ The devils exhibit feelings of
