Inadequate as they are, subject to modification from time to time, needing correction and supplementation, our various human languages (verbal and
pictorial, aural or graphic) are both necessary for us and useful to us; they help to make sense of, and they help to
give sense to, the richness of experience and the
given - ness of the
world as we observe and grasp it.
It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this
pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which
gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.
For the artist, geometry is the best tool to represent and imagine a trans - human utopia in which gender theories can be applied to the
pictorial language,
giving way to new possibilities in which we can experiment the visual
world.