In Marlyn Daggett's Be the Black Sheep, Not the Scapegoat, the distinction between the goat and the black sheep becomes a pivotal element of the painting's narrative. The two figures, occupying the central space, contrast each other not only in their form but in what they symbolize. The goat, rendered in a pale outline with ethereal and delicate strokes, suggests fragility, vulnerability, and the scapegoat's role as a figure blamed for the collective's misfortunes. In contrast, the black sheep, darker and more solid, exudes a sense of defiance, standing as a symbol of individuality, nonconformity, and embracing one's outsider status.

The juxtaposition of these two animals plays with the dualities of perception—on one hand, the scapegoat as a victim and, on the other, the black sheep as a figure of rebellion. Daggett’s portrayal invites the viewer to reconsider the roles we’re often cast into, whether we choose to conform to external judgments or embrace our distinctiveness.

The backdrop of fragmented shapes and cryptic text adds complexity to the narrative, with layered messages that suggest the difficulty of navigating these societal labels. The angular forms at the bottom lead the eye through a dynamic composition, reinforcing the tension between being labeled and breaking free from those labels. Through vibrant contrasts in color and texture, Daggett presents a striking meditation on individuality, social roles, and the often blurry line between being misunderstood and choosing to stand apart.

This piece, with its scale and energy, challenges us to reconsider what it means to be the "black sheep" and to reject the notion of being made a scapegoat. It's a bold statement on identity, agency, and the courage to define oneself on one's own terms.