Siona Benjamin’s Blue Angels

 

A blue-skinned woman with at least one wing carries a caged dove in her right hand and has just released a golden bird from her other hand. Her hair is covered by a shawl that rests over a curved dagger (like the Yemenite jambiya) with a sheath decorated with the stars and stripes of the American flag. A corner of the shawl becomes a pair of tzitzit whose strings are wrapped around a lion’s arms and midsection, perhaps restraining it. The woman, who represents a self-portrait of the artist Siona Benjamin, stands on a white ball, which unravels to reveal not string but floral patterns that border the painting. Beneath her yellow skirt, the woman wears striped pants that evoke either the uniform of a prisoner or a concentration camp inmate.

 

Benjamin’s Jewish-Arab-American take on the cat playing with a ball of string is packed with symbols that could either bear fruitful metaphorical subtexts or dead-end red herrings. The lion could refer to Judah (called a “lion cub” in Genesis 49:9) or to Samson, who killed a lion and, upon seeing honeycomb in its mane, learned the lesson: “from the powerful ensued sweetness” (Judges 14:14). Or it could just be a lion. The strings of the tzitzit could protect the figure from the ferocious cat, or they could be the woman’s undoing, if the lion is pulling the woman down by her garment. Doves sometimes suggest peace, but a caged peace symbol could be ominous. The floral borders could suggest a beautiful garden, or a barrier that keeps the golden bird enclosed in an arena with the lion.

 

The work, Finding Home #9 (Fereshtini), is part of Benjamin’s larger series called Fereshteh, Urdu for “angels.” The angels of the series are the women of the bible, whom Benjamin positions as contemporary protectors who tackle modern problems: wars and violence. Benjamin, who grew up as a Bene Israel Jew in India, was educated at Catholic and Zoroastrian schools and lived in a predominantly Hindu and Muslim society. Now based in Montclair, New Jersey, Benjamin brings this hybrid identity into her works.

 

 

 

 

Another work from the Fereshteh series is Finding Home #86 “Chavah,” which represents the world’s first woman as the symbol of her sin which led to her banishment from Eden: a tree.

 

The tree is blue (of course), and it has seven female, human heads – six attached to the branches, and one in the roots. In Benjamin’s painting, Eve has become one (or seven) with the tree. In a statement, Benjamin notes that misogynistic accounts of the biblical text often focus on Eve as “empty headed” and a “temptress.” But Eve is thus named for being “the mother of all life” (“Chava” from the root “chai,” Genesis 3:20), so she cannot be viewed as a destroyer. “The eating of the forbidden fruit can be looked upon as not negative or impulsive,” Benjamin writes, “but as a woman full of curiosity, who reaches out for the gifts of life: pleasure, beauty and wisdom.”

 

Miriam, depicted in Finding Home #73, is a very different sort of woman. She lies (asleep? dead?) in a large wine glass. She is blue-skinned and wears a golden sari. Behind the glass is a grey mushroom cloud of demonic faces, and a wire is plugged into the base of the cloud. The wire winds around the stem of the glass and emerges as part of the intravenous therapy being administered to Miriam. Two needles seem to be drawing blood from Moses’ sister, who holds a switch in her left hand. “Will she turn off the switch in time to stop the violence, the demons?” Benjamin wonders in a statement. “Is she asleep? Sick? Oblivious? Controlled?”

 

 

 

Although Benjamin suggests there is hope that Miriam might turn off the mushroom cloud – surely a reference to nuclear weapons – one wonders if the nuclear power is not also fueling the biblical character, who had the boldness to address Pharaoh’s daughter, to lead the women in song at the Red Sea, and to criticize her brother Moses (for which she was struck with leprosy). Miriam was also responsible, the midrash tells us, for well filled with water that traveled with the Jews in the desert. Instead of supplying her people with the water necessary for survival, Benjamin’s Miriam does not have control of her own bodily fluids.

 

The Miriam of Finding Home #72 is only in slightly better shape. In the triptych, Miriam lies tangled on a spider’s web. Even her wings are stuck in the web. In fact, Miriam’s wings, arms, and legs seem so carefully and intentionally tied that she could not have simply flown into the web. In the bottom right corner, a demonic figure with a tail, fangs, and sharp claws sleeps. She is flanked on either side by Jonah, who holds an American flag as he is strung upside down in front of a fish, and by Joseph, who stands on a podium dressed in bright colors. The two figures are in poses reminiscent of the soldiers tortured at the Abu Ghraib prison in Iraq.