Critique Tension

This composition does not represent real events, but a commentary on critique I created some time back. The piece above is a poor picture of a sculpture I created in college which has shown well and inspired both discussion and controversy.  It used to stand on it's end.

“It’s named Tension”.
“But look how the pieces depend on each other for support.”
“I think they’re struggling.”
“Naw, they’re leaning.”
“That Nike part, that’s the guy. That exclamation thing, that’s the chick.”
“If it represents male/female, then Nike was a goddess and that other thing- it’s like an exclamation point with no point. Get it? Pointless. That’s the male.”
Focusing elsewhere, the artist smiled, stifling a laugh. She moved inconspicuously to the space behind the couple and mused,“I’ll bet it was an assignment. Like ‘Create a sculpture that expresses tension,’ or something like that.”
Looks of disdain from the onlookers greeted the comment. They turned away. “So, I guess she’s the critic of the hour. Why would a work chosen for this show be that shallow?”
The artist surveyed her work trying to see why onlookers assumed that the two wooden forms joined by a single hidden piece of hardware was a gender argument.
‘In our day, everyone thinks everything is gender related,” he offered over a cup of coffee. “You have two forms, joined in the middle. They’re opposites. Yeah, I see it. In fact, it’s downright erotic.”
She hit him.

Remembering the time years ago when the piece had caused couples to interpret and argue the gender roles and meaning of her piece, she cleaned and polished. Since that time, she had reoriented it to a horizontal piece, elevating it with a block of glass mounted on a large thick piece of the same wood. She liked the change. The graceful figure others had referred to so long ago as a Nike supported the shorter more abrupt piece. This time it would show to a much different crowd. It would be valued for its artistic form and workmanship. She still labeled it Tension, because it still seemed to fit.

Sipping from her glass as she surveyed the other pieces, her ears tuned to the couple standing in front of her sculpture. “It’s very likely related to the mistreatment of rice workers in Asia. Or perhaps, colonial slaves.”
“I think it represents freedom. It’s like a small animal running through a field. Will it be trapped, killed or allowed to live a natural simple life among the vegetables. Is the need of the farmer – the big guy - greater than the need of the animal?”
“Perhaps it represents both,” she stated, interrupting. “The glass could indicate that the form has no real support. The curvature gives it a feeling of motion, maybe indicating constant wariness. It’s called ‘Tension’ so it probably involves pressure of somekind. Maybe a struggle to survive or to provide or for dignity and basic individual right.” She spoke as though she were a casual observer interpreting the work. She spoke with passion.
“I see what you mean,” commented one of the observers. The three of them had a spirited satisfied discussion of the implied intentions of the piece. As they walked away, a slight smirk flitted briefly across her face. She stared at her drink smiling and then resumed her viewing of the various pieces in the show.
“Maybe it’s not so important,” she observed quietly.