Category: Art

By Amy Swanson

This artwork, based on The Epic of Gilgamesh, relates to the text’s multiple uses of bathing and dressing as a metaphor for a character’s state of mind or stage of development. There are several such moments in the text. For instance, Gilgamesh’s mother, Ninsun, takes a bath of tamarisk and soapwort before praying to Shamash (III 37-38, 23), and Enkidu’s grooming scene signals his integration into human society (P 107-111, 14). Additionally, when Gilgamesh meets the two main voices of wisdom in the tale, Uta-Napishti and Shiduri, he is in a state of physical dirtiness and dishevelment, and both tell him to bathe. When Gilgamesh finally bathes at Uta-Napishti’s home (XI 255-258, 94), he does it as an act of self-care coinciding with the end of his journey. The cleansing Gilgamesh undergoes signifies his return to mental homeostasis. This metaphor for bathing is apt to describe the human experience, given that creatures who bathe will eventually become dirty again. Dirt can be seen as a metaphor for the “cognitive dirt” that encrusts Gilgamesh after the loss of Enkidu. The accumulation of dirt is a literary device that signifies the fear of death that comes inextricably with mortal life: Gilgamesh will always return to his fear of death, like how he will forever become dirty again. Hence, we know that Gilgamesh does not make a 180-degree turn when he returns home to Uruk (XI 323-XI 329, 96-97).

The artwork depicts Gilgamesh upon his homecoming, stationed atop the ramparts he built with the magnificent date palms looming behind him. Inside the opening of Gilgamesh’s chest is a dreamlike image of Enkidu accompanied by a pack of antelopes to indicate the lasting impact that the loss of his friend had on Gilgamesh. This opening depicts the human condition as bearing an always-open wound of loss and fear of death. A core takeaway from the text is the way it invites the reader to judge for themselves the brutish and stubborn Gilgamesh, who, arguably, did not undergo any meaningful character shifts. Some, however, interpret that he undergoes as much of a shift as his feeble, death-fearing mortal soul is capable of—just enough to carry on with his life and return home to Uruk. Depicting Enkidu’s symbolic impression on Gilgamesh’s heart represents this subtle but crucial shift in Gilgamesh. He will never be invulnerable to the psychic dirtying that comes with mortal life, just as he will never forget the loss of Enkidu. However, Gilgamesh’s ability to continue ruling with pride in his accomplishments as the king of Uruk is a testament to the strengthening his character attained as the Epic progresses.

Work Cited

The Epic of Gilgamesh. Translated by Andrew George. Penguin Classics, 2003.

By Erika Rayo

This paper light box reimagines Plato’s Allegory of the Cave as an immersive visual narrative, blending light, shadow, and spatial composition to explore themes of perception, reality, and enlightenment. Inspired by Plato’s seminal text The Republic, Book VII, the artwork translates an abstract philosophical metaphor into a tangible form, inviting viewers to reflect on their own experiences of knowledge, truth, and self-discovery

The Allegory of the Cave describes prisoners confined in a dark cave, chained in such a way that they can only see shadows projected onto the wall before them. These shadows, cast by objects passing in front of a fire located behind the prisoners, form the prisoners’ entire understanding of reality. Plato uses this image to illustrate the limitations of human perception, where most people mistake appearances for reality. The allegory continues as one prisoner breaks free, ascends out of the cave, and encounters the dazzling light of the sun. This symbolizes the soul’s journey from ignorance to enlightenment, culminating in the understanding of ultimate truth—the Form of the Good.

The light box medium offers a transformative way of conveying this narrative. The interplay of light and shadow forms the visual language of the piece, directly reflecting the themes of the allegory. The left side of the composition features the cave, depicted in dark, muted tones, with a prisoner seated and turned away from the source of light. Shadows dominate this space, depicting the prisoners’ limited understanding of the world and the illusions they take for reality. At the center, a figure holds a bird shaped object in front of the torch, projecting the shape onto the cave wall. This figure serves as the manipulator of perception, shaping the prisoners’ understanding of reality by controlling what they see. The bird, a symbol of freedom and transcendence, is reduced to a mere silhouette, illustrating how truth can be distorted when filtered through limited perspectives. The figure’s deliberate stance emphasizes the power they wield in defining the prisoners’ reality, which reinforces the theme of illusion versus enlightenment.

To the right, a prisoner emerges from the cave, stepping into the light. The chain that trails behind the prisoner symbolizes the lingering constraints of their former ignorance. Though broken, the chain remains present, illustrating the difficulty of completely severing ties with deeply ingrained beliefs. This moment of transition embodies the struggle between past illusions and newfound awareness, emphasizing that enlightenment is not merely a destination but an ongoing process of questioning and growth.

The materials and techniques used in this work carry symbolic weight. The delicate paper layers reflect the fragility of human perception, while their meticulous arrangement represents the complexity of understanding and the layered nature of reality. The controlled use of light within the box evokes both literal and metaphorical illumination, drawing attention to the ways in which light reveals, conceals, and shapes our understanding of the world. Shadows, in particular, play a dual role—they are at once deceptive and essential, serving as both barriers to knowledge and stepping stones toward it.

The light box as a medium also transforms the allegory into an intimate and engaging experience. Its three-dimensionality and dynamic interaction with light invites viewers to step closer, immersing themselves in the depth and texture of the scene. By translating Plato’s ideas into a physical form, the piece bridges the gap between philosophy and art, making the allegory accessible and relatable to contemporary audiences.

At its core, this work is a meditation on the human condition. It asks: What are the “caves” in which we live today? What shadows shape our understanding of reality, whether through societal norms, personal biases, or external influences? And how can we break free from these chains to seek the light of truth? The allegory, though written over two millennia ago, remains profoundly relevant in its exploration of self-awareness, critical thinking, and the pursuit of wisdom.

Ultimately, this piece is both a reflection and an invitation. It reflects the timeless struggle between ignorance and enlightenment, illusion and reality, and challenges viewers to engage in their own journey of questioning and discovery. Through its interplay of light, shadow, and form, the work seeks to inspire wonder, introspection, and a deeper appreciation for the transformative power of knowledge and truth.