An artist made a re-interpretation or re-creation of this drawing of mine.
You can find it here. (Scroll down)
Feminist Character Objects to Process — of Violence
From Coordinamenta Femminista e Lesbica, ATTI – Il personale e politico, il sociale e il privato, 2012; Habib Boulares, Histoire de la Tunisie, 2011; and John Lucas & Co., Practical suggestions on exterior decoration, 1898.
On the OpenSource library at Internat Archives, an Italian feminist collective published a poster and pamphlet announcing a demonstration protesting violence against women. The pamphlet featured graphic work by talented European cartoonist Nina Nijsten, including a simple cartoon of a woman using the triangle hand signal that means “I object to the current process” — at least that’s what it meant when used in Occupy Philadelphia. I superimposed that figure on a scene of bloody, centuries-old mayhem as if she is objecting to the process of War. (The scene is a detail from a 16th century print by Maarten van Heemskerck, showing Charles V’s Conquest of Tunis in 1535, in which 30,000 civilians were killed; it is in the British Museum and was reproduced in a history of Tunisia.) Nijsten also did a whimsical collection of circles and spirals that seemed to symbolize the diversity of a free society, and I faded that into the picture, as if that blooming richness is part of the future. Continuing my color studies from old sources, the coloring was drawn from a 19th century color scheme for a house from the Lucas paint sample book, seen in small image at right. It’s rather garish to my eye. 5-5-7-11 border includes Nijsten’s circles overlaid on marbleized paper, source unknown.
Nijsten asked folks who use her image to write to her, and I did. Her reply was friendly and encouraging. “Actually the meanings you added to my artwork were not the ones that I thought of, but I like them anyway. The hand symbol stands for the yoni sign. It symbolises female power and was used a lot in the second wave feminist movement. I didn’t know it had another meaning in the Occupy movement.” My fanciful story of the young cartoon feminist placing a “Point of Order” objection to centuries-old slaughter guided me in making the piece. That’s the power of personal artistic RE-creation. Something new is added. (This is also not the first time in my life I have been clueless on the subject of yoni.)