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“The irony is that we continue our immersion in the three poisons when we shop at such overpriced designer supermarkets.[…] They indulge our narcissism and desire—separating the haves even further from the have-nots, who can’t shop at such places and are left with GMO and lower-scale food.” This consumerism reveals on the one hand, religion’s vulnerability to commodification, and, on the other, its ability to navigate our consumer cosmos, adapting to rapid changing consumer wants and constructed needs.
Using the sequential narrative form common to comic books, Goldstein places the long-time couple in a custom-manufactured alternative reality of her own design and decoration.Muhammad the Prophet is exalted as Goldstein recognizes Islam’s contribution to the sciences long before their European counterparts, juxtaposing “the obvious disconnect between the East, specifically Islamic principles and the West’s secular ideals, which is currently at the forefront of international concern.” Ganesha, the Lord of Obstacles is depicted as a tormented outsider struggling to integrate in a hostile world, an experience Goldstein felt “as an immigrant to Canada [.] I was bullied for being different and for not speaking English—you can see in the photo that what differentiates people is not only what they eat, and how they dress, but also what they believe in.” There is a universality within the alternate world of illustrations on the other hand, depicts marginalized communities, such as France’s 4 million Muslims under the lens of racist stereotypes so detached not only from their religious and spiritual roots, but also alienated from the strained colonial history between France and its former colonies.The illustrations did not contain Islamophobia, but in fact, Islamophobia, and consequently, its backlash.But is it possible to satirize religion and push boundaries possible to defend the right to obscene and racist speech without promoting or sponsoring the content of that speech.It is possible to approve of sacrilege without endorsing racism.A pink on pink playhouse that seems sweetly perfumed for romance. But the candy-coloured interiors and playful appeal of the iconic dolls are Goldstein’s Pop Surrealist lure to engage an audience about serious issues.is social documentary photography masquerading as a puppet show.The filtered, plastic universe of points the finger at all of us and our inconsistency to uphold spiritual peace within our manic, individualistic consumer world.In the end, Goldstein’s work not only exemplifies satire, but she has created an alternative space where Gods can live among us, but only in so far that we can see our faulty selves in this made-up reality. “Unmournable Bodies.” , Barbara Millicent Roberts has been a lightning rod for debate about the socio-cultural expectations for female identity.Satire must be clever, and like many cultural forms, must encourage the awareness and potential intellect of all members of society, religious or not.At its best, satire not only critiques social values and norms, but provokes change if necessary, positioning individuals to be active participants in social transformation, rather than passive consumers who allow others to worry about their civil liberties and freedom.