Abstract
The power of artists has always had its expressive space limited by other powers against which it has reacted by transgressive processes. In the case of Gothic Creativity, one can say that it has always stimulated imaginative expansions presenting itself as a counter-power comparatively associated with certain disruptions of modernity and avant-garde. In Love, Mystery and Misery, Coral Ann Howells stresses the anti-rational impetus for the anti-rational Gothic, characterizing it as a hybrid genre with transgressive energies. Its power to react against evil power, through representations of the power of evil and darkness has the intention to reveal what remains repressed, unspoken or invisible, tearing off the masks of instituted appearances. In The Gothic – Documents of Contemporary Art, Gilda Williams notes that “Gothic remains non-, anti- and counter by definition, always asserting that the conventional values of life and enlightenment are actually less instructive than darkness and death”.
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