Tuesday, November 15, 2016

TOW #10 - visual: Mural in Philadelphia

           There are many different ways to express opinions. Whether that be art or writing, each unique way gets a message across to an audience. A common way to express these messages in the city of Philadelphia is through the art of murals. Pieces of influential art are found on walls of buildings everywhere. Some artist use these murals to try and make a change, yet some artists only paint for their own satisfaction. This particular painting illustrates the image of a young African American boy standing in the middle of a city with his arms reaching up to create a fully grown tree. The roots of the tree run down his arms, resembling his veins.
            Being that this mural was painted on the side of a large building within the city of Philadelphia, the audience is the general public of the city. The message that this mural promotes is one that the artist wants to get across to a wide range of people. The occasion of the art can be assumed, that for a while African Americans have been oppressed. This painting shows that everyone is equal and everyone has potential to create opportunities for themselves.
            The artist uses various rhetorical devices such as personification and contrast. The roots of the tree are being personified as the veins of the child holding the tree in his hands. This personification promotes the message that anyone can open doors for themselves and that their life has worth. The contrast being utilized is found in the colors of the mural. Surrounding the boy in the center, there is a yellow outlining. This makes a contrast between the boy and the background of the mural. The yellow outline makes the boy stand out and leads your eyes to follow the mural up to the tree, or the message within the mural.
            The purpose, that every child has worth and potential, is very clearly and artistically conveyed. I was immediately able to see what the author wanted to show and take away a very important message.

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