Surface Play
This chapter delves more deeply into the matter of the black vulva in arguing for a revaluation of narcissism, friction, and superficiality by dwelling on Mickalene Thomas’s use of rhinestones as excessive decorations in The Origin of the Universe (2012). A reimagining of Gustave Courbet’s infamous headless, nude portrait of a woman, Origin of the World (1866), Thomas’s work positions rhinestone-embellished genitals in the center of the frame. This chapter argues that Thomas’s painting offers a meditation on Audre Lorde’s matrilineal womanism while also allowing us to think with the idea of surface within the medium of painting. Both this calling forth of 1970s- 1980s black lesbian feminism and the textures of the surface bring forth friction as a form of relationality and narcissism as a necessary form of self-creation. Brown jouissance, this chapter argues, inheres in the excesses of surface that the painting presents.