Apart from surface manifestations altogether, this realm was simultaneously one of austere simplicity and aesthetic intricacy, of departure from realism and immersion in reality, of intense emotion and uninhibited expression.
It was the realm of lines that could tell stories, of colors and figures that meant nothing and everything.
Indeed, it was the realm of disorder and messy studios and true art—a place where I could express the world like I saw it, in colors and strokes unrestrained by expectations or rules; a place where I could find refuge in the contours of my own chaotic lines; a place that was neither beautiful nor ideal, but real.
No, it was not so clean and not so white and not so nice. ___ REVIEW Perhaps the most prominent facet of Bobby’s essay is the use of imagery.
No, it was not so clean and not so white and not so nice.
But I have drawn—rather, lived—in this studio for most of my past ten years.
Throughout the rest of the piece, Bobby’s use of imagery brings his essay to life, with “black fingerprints and smudges” and “unsoiled whiteness” being used to describe his art.
He also uses imagery to illustrate the contrast between his organized, type A persona and the abstract art he eventually creates.
Indeed, not only does this essay document Bobby’s development from child to young adult, but Bobby’s art also matures from something orderly and superficial to something abstract and deeply meaningful.
What separates Bobby’s essay from a well-written story, however, is the subtextual narrative it provides the reader.