In a piece entitled “Fall of the Watchers”, artist Eric Ondina has managed to capture an aspect of the myth of sex between Watcher angels and human women that usually gets glossed over in renditions of the story.
The Book of Watchers tersely summarises that the Watchers “took” the women, “went into” them, and “defiled themselves with” them (7.1ab). The twenty named Watchers are contrasted with the anonymous and unnamed women who they “choose for themselves”. The Watchers act, and the unnamed women are acted upon. Their identities are suppressed, irrelevant to their function within the plot. Their reactions here are limited to their childbearing function: they “became pregnant” and “bore to them gigantic offspring” (7.2).
But what did giving birth to “gigantic offspring” do to these women? The text falls silent, in contrast to the cries of anguish which would have accompanied such extreme foetal dystocia. The birth canal is only important in the story insofar as it satisfies the Watchers’ desires – for sexual intercourse and for children.
But in Ondina’s “Fall of the Watchers”, the effect on the Women is brought to the fore in the artist’s portrayal of an evidently painful, bulging womb. But this pain is combined with a comical characterisation of the women as obsessed with the jewellery that the Watchers gave to them. The combination of extreme discomfort and vain satisfaction is, of course, absurd. And this absurdity provides a visual critique of the tendency in the Watcher myth to belittle or even blame women for the actions of the Watchers.
Ondina himself comments:
I have extracted multiple motifs from this story and melded them into a dynamic composition. The piece is painted in oil on a hand molded, cresting, reinforced plaster slab, which is bordered by a deep cradle frame. It was my intention to make a painting which mirrors this mini-epic in scale, drama and abject gruesomeness. With this in mind I decided to invoke the compositional and painting techniques found in the dynamic baroque of the 17th century while emulating the decisive moment found in 18th century Romanticism. There is also a clear reference to the Northern European Renaissance in the detail, cathedral-esque shape of the substrate, insider humor, and violence. These fuse into a style I have developed in this series which is both contemporary and historically reinforced. While my painting seeks to provide a portal into the past, I seek to do so through a modern lens, injecting subtle to sardonic satire into my subjects. This is readily apparent along the bottom of the painting; in the lower right hand corner an oblivious woman pampers herself with gold and makeup, her stomach bursting at the seams as her hulking half-angel broodling slithers out. She is a sarcastic embodiment of how our contemporary sensitivities are want to perceive this story. The Abrahamic religions are not renowned for their justice towards women, and The Book of Enoch once again exemplifies this ancient trend. Women are the seductresses and the baby factories, the intermediaries and cause of the sinfulness pressed upon the world; because of their erotic allure, mankind suffered nightmarish consequences. My painted jezebel is a mocking testimony to this ancient fear-mongering.
In portraying this extreme foetal dystocia in this manner, Ondina’s “Fall of the Watchers” has drawn attention to an aspect of the Watcher myth that has escaped many commentators, as well as critiquing that very failure to take account of the effects on women implied by the Watcher myth.