HSC 2010 .

QUESTION 8
Analyse the ways in which artists communicate through the use of particular symbols and
organisational relationships in their works.

The aim of art is to represent not the outward appearance of things, but their inward
significance. These inward significances are effectively communicated to the audience
through the artist’s use of particular symbols and organisational relationships in their works.
Artists such as Hieronymus Bosch, Rene Magritte, and Lee Bul are examples of artists
throughout time who employ extensive symbolism to convey a message (or messages) to
the art world.

“Garden of Earthly Delights” by Bosch is reflective of his upbringing and education in a

religiously progressive society. This accounts for his religious and moral concepts that
dominate his works, where they are conceptually consistent with those of late medieval
didactic literature and sermons Bosch’s paintings are described by Dirk Bax as
“representative of visual translations of verbal metaphors and puns drawn from biblical and
folkloric sources.” In “Garden of Earthly Delights,” critics have agreed that Bosch warns
humanity against the consequences of sins. He achieves this through the symbolic use of a
triptych, where the three panels act as a cohesive unit but each conveying its respective
message. The left panel depicts the Garden of Eden which represents humanity’s innocence
before Adam and Eve consumed the apple. The centre panel shows the corruption of that
innocence, where albeit the depictions of luscious tropical and oceanic atmosphere and
exotic animals (believed to be influenced by the tales and trophies of the New World), Bosch
comments on the transience of earthly pleasures. This conceptually leads on to the right
panel, where the hellish scene represents humanity’s punishment in Hell for the “wages of
their sins.” This message by Bosch is epitomized by the “Tree Man” in the right panel; the
symbolism of the bagpipes is representative of the phallus, as it visually resembles the male
scrotum and penis. Concurrent with the conception of the Middle Ages as seen in its
parallels with the caustic writings of Desiderius Erasmus, the sexuality ad lust depicted by
this bagpipe are seen as humanity’s fall from grace, and most foul of the seven deadly sins.
Thus, it is clear how Bosch employs extensive symbolism and organisational relationships in
“Garden of Earthly Delights” to convey his warnings against sins.

Similarly in “The Son of Man,” Magritte employs extensive symbolism and organisational
relationships in this work to convey multifaceted meanings. Complementing the
conventions of surrealism, Magritte puts the levitating apple in a realistic scene in an
unrealistic manner The juxtaposition of the colours of the striking green apple with the
monotonous background and figure can be comprehended by understanding the symbolism
of the figure. The man whose face is obscured by the floating apple is dressed in a “uniform
of the commercial world,” complete with suit, overcoat and a bowler hat. What many
decipher from this is Magritte’s condemnation of how men have been too preoccupied by
financial gain that they disregard all other factors of holistic welfare such as domestic well-
being and the environment. In relation to the floating apple, it hides the man’s identity, thus
suggesting that everyone is similar in their pursuit for money. He describes this as “men are
like a chesspiece… with rules to follow. Even the apple has more life than him.” The apple is
symbolic of the infamous one in the Garden of Eden where it represents the fall of
humankind. Thus, it is suggestive of the fall of humankind to the forces of commercialism
and capitalism. Concurrently, the tile chosen for this work is also highly symbolic and
significant to the message of the artwork as a whole. “The Son of Man” is almost a parody of
the biblical allusions to Jesus, who was the “Son of God.” Magritte therefore hints that this
figure, adorned in the uniform of commercialism with the apple of sins is the product of
men, that it is the greed of humankind that has driven man to this stage. “The Son of Man”
is therefore an embodiment of artists who have communicated insightful messages through
extensive symbolism and organisational relationships.

Another such artist is Lee Bul; her “Another such artist is Lee Bul; her “Cyborg” series
addresses issues of gender inequality and the consequences of advancements in technology.
As a female Korean growing up in a patriarchal society, Lee Bul is aware of the place of a
female in society, which she comments on in the “Cyborg” series. She uses the form of
cyborgs, computer-designed human forms to convey her message. This “cyborg” condemns
how females are portrayed in society, where it is often represented in Asian animations
(anime) as the brainchild and plaything of male masters, a hybrid of woman and machine
She is clearly highly critical of this derogatory stance society has taken. The “Cyborg” series
however has dual symbolism, the other being the loss of individuality as a result of
advancements in technology. Robotics experts have postulated that human consciousness
can be downloaded into technology within the next 30 – 40 years. Thus, as we move beyond
the physical limits of the frail human body through advancements in technology, we present
a dilemma to the modern world; the human body operates merely as a shell that can be
easily replaced by a manufactured one. In the “Cyborg” series, Lee Bul conveys this message
through the use of silicone as a media and abstract forms (the distortion of the figures) to
give her sculptures a futuristic tinge. The distortion of the form also suggests the distortion
of humankind in response to advancements in technology. Therefore, it is evident how Lee
Bul employs extensive symbolism and organisational relationships in order to communicate
her message to the artworld.

In conclusion, artists throughout time communicate through the use of particular symbols
and organisational relationships in their works. As seen in the works of Bosch’s “Garden of
Earthly Delights,” Magritte’s “The Son of Man,” and Lee Bul’s “Cyborg” series, the audience
develop a deeper sense of appreciation for these works. This is upon scrutiny of the
ingenuity of symbolism employed by the artist to convey an insightful comment on society
that resonates with a timeless audience.

I was unsure of what “organisational relationships” meant so I assumed it to be the

organising of forms and media and subject matter and its relation to the symbolism of the
work. I don’t think this is an accurate interpretation of what it means so please advise.
Thanks.