Frida Kahlo - Romance with Pain. Part 3. Holy White Death
Instilled by the mother, "the tendency to mystical exaltation will remain with Frida for life." What Leclezio calls "mystical exaltation" can be defined as an expression of the properties of the sound and visual series, using the knowledge gained at the training of Yuri Burlan "System-vector psychology". Later, these properties will appear in the paintings of Frida Kahlo.
Part 1 - Part 2
SANTMUERTE
Frida's vector features are manifested not only in her own unclear attitude to motherhood, but also in emotional swings of fear in her eyes. Mexico in the pre-Columbian period was inhabited by the Maya and Aztecs with their cannibal traditions. After the landing of the conquistadors, and then the missionaries from Christianity, she managed to create a solid alloy from the Christian religion, local traditions and rituals of the Indian peoples.
Ancient echoes of cult sacrifices, especially on the holiday of All Dead, turned into a kind of surreal flirtation with death and the dead, with conventional cannibalism in the form of eating various sweets imitating human bones and skulls of all sizes.
SantMuerte Blanc (Holy White Death) - the cult worship of death, which is still marginal in nature, can also be attributed to one of the ways to wind oneself up with emotional fear in sight.
For Frida, this was facilitated by all sorts of paraphernalia in the form of small toy skeletons hung in her bedroom and above the bed in which she spent most of her life. The retablos in her bedroom features medical scenes of abortion, images of deceased children. The paintings necessarily contain blood, human organs, pain, torture, esoteric motives.
Instilled by the mother, "the tendency to mystical exaltation will remain with Frida for life." What Leclezio calls "mystical exaltation" can be defined as an expression of the properties of the sound and visual series, using the knowledge gained at the training of Yuri Burlan "System-vector psychology". Later, these properties will appear in the paintings of Frida Kahlo. Sometimes it seems that she has no suffering, she does not feel her own physical body, which is being destroyed and which is somehow still supported by the hoops of the iron corset. Frida no longer has a body, it is all shredded from the inside and outside by endless operations, and the organs from it have been removed and transferred to the canvas for everyone to see. Her world is the world of tortured or dead people and animals.
Depicted in one of her portraits, a dead hummingbird bird, hanging from a necklace of thorns on her neck, symbolizes a witchcraft amulet, according to popular belief, bringing good luck in love. Other birds are either in a cage, or in the form of earrings threaded into the ears, or pinned on a needle. In the images, there is always a puncture or cut, trauma - as an effect on the skin, on the erogenous zone, capable of responding with pleasure through pain.
For all her urethrality, Frida not only did not shy away from visual crayfish, but also provoked them in her. According to the paintings of Frida Kahlo, you can track the level of development of the visual vector: from exotic flowers and invented girlfriends - to birds, monkeys and cats. In fact, all this flora and fauna captured on canvases surrounded Frida in everyday life.
A deer pierced by arrows, a clot of mental and physical pain, was written by Frida most likely under the influence of her skin-visual mother with a poorly developed visual vector, who adores images of her revered saints in torment.
Receiving pleasure from contemplating pain as an expression of masochistic tendencies was manifested in Frida's mother, a stingy, restrained woman who economizes on everything, including attention to her own daughters and husband. Mild Wilhelm Kahlo, having lost a good job after the Mexican Revolution, was unable to adequately provide for a large family, visually suffered from a lack of love, respect, recognition and eternal discontent from a not very developed Puritan wife.
For Frida herself, the stressful skin also demanded its pleasure to balance the biochemistry of the brain - through masochism. Nobody beat the disabled woman. She was self-flagellating. Being sick and unable to keep the unfaithful Diego, every time after serious family conflicts and prolonged love affairs of her husband, Frida went under the surgeon's knife.
The pain received from thirty-two operations in twenty-nine years, a long recovery, sometimes stretched over several months, allowed her to receive her endorphins and additionally manipulate Diego, seeking from him, as it seemed to her, more attention to herself.
Why did Diego, who knew about Frida's health problems, marry a disabled woman, whose health condition deteriorated, having no chance of recovery? Perhaps, out of visual compassion, he could not leave the sick woman and in an anal way kept the word given to Frida's parents at the time of marriage. They didn’t particularly like the “elephant marrying a dove,” and honestly warned him about the state of the bride's health, hoping that he would abandon her himself. Or maybe there was a special kind of sadism here. After all, Diego did not hesitate to bring strangers into the house, arranging orgies in front of his almost immobilized wife.
Barely getting to her feet, Frida decides not to yield to her husband in anything. She has all sorts of hobbies, often short-lived, which, however, cannot be ignored. A few years later, already on the verge of a divorce from Diego, and then after him, Frida demonstrates in everything her right to independence, in which the freedom of choice of sexual behavior plays an important role. She will experience several connections with skin-visual women, pushing the boundaries of traditional sexual acceptability, and, naturally, with skin-visual youth. Most likely, Frida's relationships with women are more experimental. In addition, they become for her rank skin-visual females - muses, as in the case of the urethral leader. For the artist, this love relationship was tantamount to escaping from solitary confinement.
RE-MARRIAGE TO MONSTER
Frida and Diego have been divorced for one year. According to the artist, Diego himself invited her to become his wife again. Frida was left alone, without the help of relatives and without savings. You need to be a very naive person to believe that you could live on the money from the sale of her paintings, which Frida could work on no more than three hours a day. Naturally, Diego did not voice all this, accepting all the conditions of the new marriage contract: not to enter into sexual relations with his wife, to leave her the right to live on the funds from the sale of her own paintings.
Visiting doctors, repeated operations on the spine, amputation of the leg due to the onset of gangrene - all this also required expenses. A few months before her death, the first and only exhibition of Frida Kahlo's works was organized, at which she was present reclining in her famous canopy bed, and - once again - shocked fans of her work, entertained friends, shocked the enemies that she and Diego had was enough.
Shortly before her death, she again joined the Communist Party of Mexico, from which she left several years ago as a sign of solidarity with Diego, expelled for "free thinking" and "becoming a bourgeois artist." The murder of Leon Trotsky, who had been staying at Frida and Rivera's house for a long time, also did not add credibility to the artist, who asked the government to grant political asylum to Stalin's exile. They even tried to accuse both of them of conspiracy with the murderer.
It is possible that Frida returned to the ranks of the Communist Party to counterbalance Diego, once again asserting herself and ranking.
Farewell to Frida Kahlo, who died before reaching her fiftieth birthday, took place in the lobby of the Palace of Fine Arts. Suddenly, a young man appeared from the crowd (how could it be otherwise!) And covered her coffin with the red banner of the Communist Party of Mexico. The scandal was huge.
Who knows, maybe Frida herself invented and organized this action in advance so that, leaving this world, for the last time to remind of herself. Leaving loudly slamming the door behind her was quite in her style.
