Edouard Duval Carrie: Reflecting the Sublime

Like art, more specifically the concept of what is good versus bad, the sublime can’t be calculated, imitated or measured. In his piece, “On the Sublime” Longinus makes several assertions regarding what he considers to be the sublime as well as the necessary steps for one to achieve it. I found several instances where the installations in the Edouard Duval-Carrie were reflective of ideas concerning the sublime and claims made by Longinus.  One of Longinus’ major claims is that in order for one’s writing to reach the sublime, the writer must possess and exhibit what he considers to be “moral excellence.” One of the major aspects of Edouard Duval-Carrie’s exhibit, and perhaps my favorite aspect, was his critique of colonization through art.  I would argue that this is a position of “moral excellence” as Carrie is criticizing a moral wrongdoing and further strengthening his path to the sublime.   

Another primary point that Longinus argues for is that a writer who transgresses social mores may not necessarily be a fool or without shame. For Longinus, social subjectivity is also important. He writes that in order to support spirit and hope, freedom is necessary. That said, too much freedom can lead to a decline in eloquence, which according to Longinus, which can hamper one’s ability to write in the sublime. I think this dilemma is clearly reflected in the anti-colonization/slavery aspects of Carrie’s exhibit. In order for slaves to maintain spirit and hope, their freedom is necessary. Though Longinus is arguing these ideas in regards to writing, if you are able to depart a little from the traditional idea of a “writer” and apply these same concepts to larger ideas such as art or an entire exhibit you can see the parallels.  Longinus identifies five sources that he believes can lead to this goal of the “sublime”:  great thoughts, noble diction, dignified word arrangement, strong emotions and particular figures of speech or thoughts.

The most importance source is natural greatness, a skill I believe all artists have, because that is in fact what makes them artists. Though skills can be taught in order for one to become a better artist, natural born talent is the most important. The strongest source that could be used to argue in favor of Carrie’s exhibit being reflective of the sublime is his use of strong emotions and great thoughts to further evoke strong emotions and great thoughts from those who view his art.  I think it could be argued that Carrie’s reflection of the sublime evokes feelings in viewers that could potentially lead them to the sublime as well.  Finally Longinus’ sublime has a number of what I considered to be side effects, for which Longinus calls upon readers to search for: the loss of rationality, deep emotion combined with pleasure, and alienation. All of these I believe can be found in Carrie’s exhibit, however for myself specifically I felt my strongest emotions when viewing a piece in which Carrie used the juxtaposition of brightly colored and almost childlike designs with images of slaves being hung to strike a chord in viewers. It evoked deep emotions from me while simultaneously confusing me.  I enjoyed the piece but still felt an incredible amount of emotional weight while viewing it, which I believe is exactly on of the “side effects” that Longinus describes one might find when coming in contact with the sublime.