Mary Shelly’s Frankenstein is a patchwork of literary genres told through a collage-like layered narrative.
Her protagonist, Victor Frankenstein, creates a patchwork man with no ties and no affections.
A monster who is hateful and avenging toward the world because he wishes to “live in communion with an equal” but is denied.
As Victor’s creature becomes increasingly aware of his isolation, he demands of Victor to produce “a creature of another sex” for him, so he may “become linked to the chain of existence and events.”
Victor Frankenstein has the power to create life and to destroy it, to permit his creation into society or relegate him to isolation.
As readers, we see and experience the creature only through Victor’s attitude: as a living thing who is repulsive and abhorrent, a creature who cannot be included in society not only because of his outward appearance, but also because Victor refuses to expand the monster’s life by creating a companion for him.
This refusal by Victor to construct a link between his creation and a life in communion with another compels me to imagine what a companion for the creature might embody.
The eight collaged brides and their reimagined mixed-media paintings are constituted from bits and pieces from U.K. publications like British Vogue, Wallpaper, and i-D magazine.
An assemblage of Vogue sewing patterns and pages from Shelley’s novel make up the body parts fashioning the bride that Frankenstein’s sublime Creature longs for.
This series, Electrify Me, explores what it means to be human and our need to love and to be loved.
Having manufactured 16 brides, I imagine one of these works of art to be “electrified” and to come to life for the creature to walk through life with.
Which one will be summoned into being?
Which one electrified?