Critique: "Walking Man," William Kentridge, 2000

William Kentridge, “Walking Man,” 2000

William Kentridge’s linoleum cut entitled “Walking Man” is a huge work, able to occupy an entire wall. A large figure of a man with a tree sprouting out of his head and arms occupies the majority of the work’s space. While the black and white color scheme and the shapes of the cutout lines lend some continuity, the piece is filled with contrasts. The strong vertical dimension of the piece echoes the figure’s vertical stance, and both contrast with the horizontal lines of the background almost as starkly as the black and white colors of the piece oppose each other. Our attention is drawn immediately to this dark, bold figure that pierces the composition. The man is almost entirely black, save some chaotic white dashes that serve to indicate the seams and wrinkles of his clothing; in juxtaposition with this is the comparatively light tone of the sky. His vertical or diagonal orientation, combined with the fact that his form conveys quite a bit of action (the organic lines of the branches and the movement suggested by being in the middle of taking a step), gives a sense of great energy. The leaves that surround the tree’s branches mimic the style of the lines that compose the placid sky, but they are arranged in a stochastic manner that gives an energetic “aura” around the figure’s head. The sky’s repetitive, parallel horizontal lines seem almost geometric in comparison because of the continuity of their orientation, and they certainly lack any energy. The power line towers far in the background are composed of rectilinear shapes and also contrast with the organic form of the man.

Although it is obvious that the tree and power line towers at the bottom of the work are supposed to be far away, one still gets the impression that the man is lifting his foot in preparation of stomping on them. This tree-man, who is juxtaposed so sharply against the sky and the towers, may feel out of place in his environment. His presence seems to menace his surroundings. The leaves disturb the horizontal lines of the sky, he seems ready to crush the towers, and his large, dark, looming presence feel threatening. Oddly enough, his face is indiscernible, so in that way his intent and emotion remains unknown; of course, the unknown can also be the most frightening threat. This piece may represent the resentment felt by some toward industry or the encroachment of civilization into natural areas; however, if this is the case, their cause is not presented in a very favorable light by Kentridge, as the figure seems to dominate and threaten everything around him.