Woman With Knife No. 5
Lee, a locally known artist, is working on a collection of oil paintings for her next gallery exhibit. The theme: 'Woman With Knife.' Schooled at a private art conservatory, Lee has intellectual motives for her work, and classifies her style as neoclassical postfeminist praxis art. But beneath all the imposing intellectual labels, Lee has her personal reasons to paint, too.
In a public park, Lee sets up her canvas for "Woman With Knife No. 5." Her model slips into the nude and brandishes a Arabian dagger, as instructed. But perhaps it is her mood that day, or perhaps she's held her tongue once too many times for monomaniacal artists. Whatever the case, playing the knife against her body, model Jody starts in with blunt questions about the nature of Lee's art.
For a time, Lee patronizingly explains her aesthetic. But Jody, who happened to major in art history, can hold her own. And then she goes further, too far, probing Lee's personal life. Lee loses her cool, and for a moment loses the aloof artiste armor she has built up for herself. She puts down her brush, flushing.
In the angry silence, a jogger runs by, sees Jody, gawks. Is this what Lee wanted, why she chose a public park? Is art all voyeurism?
When Lee puts the finishing touches on "Woman With Knife No. 5," Lee comes over to look. She's confused. The canvas holds an image far more emotional, far more disturbing than she expected. For a moment, the chatty Jody is speechless.
But Lee has regained her cool, and plans to paint No. 6 today, too. Placing a blank canvas on the easel, she instructs her model to pick up the grappling hook and chains.