May 24, 2016 § 1 Comment
It wasn’t easy being the weird outsider creative kid growing up in the Fundamentalist church. I constantly berated myself for being an “over-analyzer” as though this was a fault rather than an asset. I struggled to conform to the unified whole, but was always left with the same person hiding inside my head. Secretly, I knew that the only path to my complete self was through diversity—of thought, of lifestyle, of culture. I knew this, though everyone around me kept saying over and over, “Be in the world, but not of it.”
I began drawing obsessively from about the age of seven, and by my teens was doing figurative paintings in oils. People were often impressed by my work, yet the feedback I most remember is, “These are beautiful, but when are you going to start bringing glory to God?” I took this to mean that if I wasn’t painting scenes from the Bible, my art had little value. This was the basic concept of what an artist should be. The entire back wall of the church was covered in tacky oil paintings depicting the life of Jesus.
I was trained to mistrust everything outside of our tightly woven sub-culture. I not only looked down on people who were not Christian, but I feared them as well. I absorbed these lessons of conformity, and though none of it felt right, I was afraid to ask questions. A question meant doubt, and doubt could result in my family, my friends, my church, my school, rejecting me. It was a narrative I had observed before, and one I was to experience to some extent later on.
These memories came up strongly for me as I did research from two books written by Christian writers—Art For God’s Sake by Philip Graham Ryken, and State Of The Arts by Gene Edward Veith, Jr. The two authors seek to “educate” the reader with a call to reclaim art for their faith, as though art should not be determined by the artist, but by the establishment. Ryken begins by observing the issues within the church for artists, with words that ring true to what I experienced:
“If anything, things are even more difficult for Christian artists. Some churches do not consider art a serious way to serve God. Others deny that Christians in the arts have a legitimate calling. As a result, Christian artists often feel like they have to justify their existence. Rather than providing a community of support, some churches surround them with a climate of suspicion (Ryken, 9).”
The individual artist is not only underestimated in their role, but also feared in their ability to examine and critique the system. The church is leery of this type of behavior since their ideology is based on faith rather than fact. From his fair assessment, Ryken’s treatise quickly devolves into a derailment against the art world, and the two writers—Ryken being strongly influenced by the work of Veith—go on to display their lack of education on modern art, and their inability to explore the work beyond face-value:
“In many ways the art world has become—in the words of critic Suzi Gablik—a ‘suburb of hell (Ryken, 13).’”
Along with sweeping generalizations of the non-believing artist:
“It has always seemed to me a great evidence for the Christian faith that those who reject it acknowledge, if they are honest, that without God they have no hope in the world (Ephesians 2:12). Great unbelieving artists generally do not pretend that the absence of God in their lives is in any way fulfilling or a cause of rejoicing. Lacking God, they express their own emptiness. Looking outward, they probe and find that everything—other people, their society, nature itself—is a sham and a cheat. Is not their experience exactly what the Christian would predict (Veith, 210)?”
Veith’s observation here is a classic projection of his own beliefs onto those with an entirely different set of values. He holds assumptions about their worldview and their experience, concluding that they must be depressed and confused. I can’t comment for other artists, but since I am an unbelieving artist with greatness left to be determined, I take offense to Veith’s view. The only sham is the idea of God itself. With a bit of historical research, it doesn’t take much to understand that all gods pass away. The people who have created them, however, continue on in their formation of ideas.
Personally, when I first realized that God does not exist, I suddenly understood the concept of self-responsibility. There is no outside source directing my course. It is all on me—my choices, my initiative, my discipline. There is no one to blame for a misstep but myself. This redirection brought a sense of presence. I became more of a problem-solver. Fully embodied in nature, I no longer found it suspect. Rather than looking beyond this existence, I found the enormity of the present. There was nothing empty about this experience, and it improved my work as an artist.
“But whatever stories it tells, and whatever ideas or emotions it communicates, art is true only if it points in some way to the one true story of salvation—the story of God’s creation, human sin, and the triumph of grace through Christ (Ryken, 40).”
If a believing artist chooses to fall in line by directly promoting the church—as the church so often requests—their art degrades into propaganda. The general viewer is not interested in an art show as a form of religious proselytization. Rather, the audience seeks metaphor and examinations of established ideas. When a power structure uses the artist as a vessel for the promotion of a prerogative, the artist is subtracted down to the role of artisan. Yes, under a patron the artist may toy with the limits of their role, or use their artistry to go above and beyond, but the subject matter is typically chosen for them. Before the Renaissance, artists were generally viewed as artisans, and they received little respect in society.
Through many centuries of power, the Catholic Church understood the sway that art could have on their congregation. They staked their claim on visual artists, funding them and commissioning major works of art. Since most people could not read, the art served as the narrative. Though this set-up has changed drastically since then, the view that the church should direct the course of the art, still persists.
During the Reformation, as early Protestants sought to differentiate themselves from Catholicism, they destroyed many works depicting saints, and their fervor led to a general mistrust of art as being idolatrous. As a result, artists in Northern Europe faced a shortage of patrons for their work, and suddenly they had to paint of their own accord, without a commission directing their course. Subject matter shifted from religious and mythical depictions to scenes from everyday life.
Inadvertently, this rejection of visual art by the Protestant church led to the artist as a free agent. As the ideas of Humanism developed, art evolved as an ever-shifting landscape, wide and varied. It went beyond the limits of “beauty” and became a process of experimentation and exchange. When the individual is given value, there are no borders on creativity. We now benefit from the conceptual artist not only in art itself, but also in science, technology, and so many other aspects of contemporary life.
The problem between Christianity and art lies in the essence of both. Christians are told to not ask questions by accepting the mythical as being true. The artist is instructed to examine the details of every concept, and dissect the visual down to its basic elements to build it back up again.
It makes sense that everything I wanted to express as a young girl was in opposition to the limits imposed on me. In response to being instructed that a woman must be submissive, I painted strong women that I wanted to emulate. In order to work through my fear that the “darkness” would consume me, I dove right into it, and found that if you face it without fear, it has no power and does not even exist. I wanted to understand what made the world evil, and all I found was a world full of stories that only make sense when you listen, when you search, when you read from start to finish.
The thing is, even when you make these realizations, you still have to live in a world inhabited by people who think that myths are true. I have let go of my anger enough to have a dialogue with the people who tried to make me something that I was not. And since I am not a Christian, I can ask as many questions of believers as I choose. I keep them on their toes, and we have all grown for it. Every day, I lose another piece of the fear that I was raised with. It turns out, that being an “over-analyzer” was my greatest strength, not my greatest weakness.
September 28, 2015 § Leave a comment
In my last post, I stumbled on the idea that religion teaches us to see the world from a specific point of view, while art teaches us to see the world from all points of view. This topic deserves to be expanded. The word “art” can be a little vague because we forget the wide breadth that this covers within culture. To name just a few areas where art is who we are—film, television, literature, journalism, architecture, fashion, visual arts, theater, the art of making a speech, the art of making a meal, the art of conversation.
Art provides empathy. Empathy is the greatest experience that we can achieve. Through all of the means I have listed (and then some) we strive to share something special to us in order to give that feeling to others. We find a breakthrough in our craft, which leads to the completion of a story, which leads to the beginning of another story. By sharing this, others may feel what we feel. Or maybe they don’t. Maybe they are opposed to what we feel, and they will create a different story out of that experience.
By sharing, we spread the meme, and the meme grows. It is an organic process—ever-evolving. Through that evolution, life continues to change, only remaining the same in its substance. When we do not allow the story to shift and change, we’re in danger. If we do not allow metaphor and symbolism to have their way, we’re lacking in the imagination that can save us.
In my research, I’m currently studying the process of the mystics. Mystics often come from a traditionally religious background, but they have also been some of the great non-practicing figures, such as the poets Rimbaud or Walt Whitman. Writer Gershom Scholem shares:
“The most radical of the revolutionary mystics are those who not only reinterpret and transform the religious authority, but aspire to establish a new authority based on their own experience… The formlessness of the original experience may even lead to a dissolution of all form, even in interpretation (On The Kabbalah And Its Symbolism, 11).”
The word mystic can easily be substituted here for artist. Through persistent study, the artist breaks down what came before to create a new language. This language not only captures the zeitgeist, it transforms it.
The literalist, on the other hand, sees the words within holy books as stagnant, unmoving, ever the same. This causes a conservative rigid outlook on life—black and white, good and evil, wrong or right. To get beyond the words, we must stare at the words for a long time. We must examine their meanings. For example, the word good comes from god. The word evil originates from devil. Our language is steeped in religious concepts. The more I have examined these two words and their meanings, the more I have realized that they don’t actually exist. They only exist as a cultural concept, and not as a reality. Good and evil creates false judgments against outsiders, against people who have a different lifestyle or culture than our own. Within the parameters of good and evil, there is a language of conformity. These terms allow people to persecute others on the basis of differences and a lack of understanding.
We are an animal, and animals have motivations for survival. The greater portion of our faults come from being easily spooked. We over-compensate when we perceive the slightest threat. We are over-crowded in cities, stressed out and impatient, over-worked and struggling. News stations work hard to keep us uneducated and afraid. This in turn makes us want to commit atrocities against perceived threats.
Democracy is extremely fragile. We must be vigilant, because at any moment democracy can turn back into fascism. Last week the president of China visited Seattle. He had dinner at Bill Gates’ mansion. Fascism is happening right now in China. Activist artists such as Ai Wei Wei, Liu Yi, Zhao Zhao, and Chen Guang are threatened by the government on a daily basis. Leading up to June 4th, over 100 activists were taken into custody before the 25th anniversary of the massacre at Tiananmen Square. Some were imprisoned on trumped-up charges. Others were spirited away by police on forced vacations. Anything in order to silence the voices that are determined to remember the protesters who lost their lives in 1989. It is clear that not much has changed since then. Art is a threat against those who spread fear.
We must be grateful for our freedom of speech. In the US, just sixty years ago, you’d be hard-pressed to find a copy of Lady Chattely’s Lover by D.H. Lawrence (one of the greatest novels ever written). Allen Ginsberg underwent an obscenity trial for his poem Howl. Henry Miller’s novel Tropic of Cancer was banned for close to 30 years until the early 1960’s. People in Hollywood were blacklisted from working in film, and censorship was around every corner. Communism became a dirty word, and the American government used that fear against us. We are told that we live in a democracy, but vigilance is necessary in order to fully achieve that.
This week is Banned Books Week, highlighting some of the great truth-tellers of our time and of the past. Some of the works epitomize the statement that you should write as though no one is ever going to read your work—they are daring and free. Other books might seem commonplace to us, but in other cultures they are viewed as dangerous. By empathizing with the characters in these books we are taken into a different point of view than our own. We are given the possibility of a mind expanded. For the fundamentalist or the fascist, that is a truly dangerous prospect.
To view 196 banned titles, click the link to visit Powell’s Books
December 27, 2014 § 5 Comments
I’ve never written a how-to post before – my main mode is usually to bring you philosophies, ideas, and experiences of art, religion, and books. But coming up to the New Year, I’m thinking a lot about how I live my life, and how everyday I strive to achieve my utmost in creative output – whether through gathering information, writing, or making art. Maybe some of what I’ve learned along the way can help you achieve your goals as well – either as a reminder, or a guide. However, everyone is different, and the following is only what I’ve found works for me.
We live in reality – a place where bills need to be paid. The key is to find a job where you’re partially in control of scheduling, with a boss who understands and appreciates what you do. Or better yet, work freelance where you’re generally your own boss. I used to think that working nights would be best for me – but in truth I just slept most of the day and stayed out too late. The problem with working as a server is that you spend the night serving people who are out having fun, so you think you deserve some fun for yourself after. It also takes a few hours post-shift for that amped up energy to fade out.
Something that took me many years to learn – your only addiction should be the act of creating. An addiction to a substance is mind numbing – keeping you from accessing your full potential for awakeness and progress. An addiction to socializing can be useful for getting your work out there, but generally it stems from a need to feel loved, and this can get in the way of productivity. My priorities are family, work, and then friends. It’s not easy to make that call on friends. I allot myself the time to see people outside of work up to three times a week (rather than the every-night-escapades I had in my twenties).
The key to being productive is to establish a routine. In a perfect day, I wake up, and make the same breakfast that I make everyday of the week (this eliminates extra decision-making, and keeps space open for more important issues). I make my French Press coffee, peel a Clementine, dole out vitamins, fry an egg with a sprinkling of garlic powder, butter some toast, and pour a cup of orange juice. Then I sit down to eat, and read something informative – either magazine articles, or art books. I check email, and then write a chapter – either for my book on religion, or for a novel based on Bohemian Paris in the 1920’s. When my energy flags, it’s time to go to the gym. This gets the blood flowing again, and keeps my body functioning properly. Afterwards, I come home, shower, and make one of two lunches – either lentil soup or garlic naan with avocado or hummus. Then I watch 45 minutes of trash television to give my brain a rest. After this, I make a strong cup of coffee with my Italian percolator, and disappear into my studio where I play Joni Mitchell or Jazz. I spend the rest of the afternoon and evening building canvases, prepping them, painting, sculpting, planning, researching artworks. By 7pm, I’m exhausted. But it’s time to make dinner. I cook a delectable portion of protein, with a tasty salad sprinkled with olive oil and vinegar, afterwards, some chocolate for dessert, and then a movie or a documentary with my husband. This is a perfect day.
Unfortunately, when I stick to this schedule, I never get out of my cave except for that brief time at the gym, which is right across the street. Once there, small talk questions feel strange because I can’t even remember what I did yesterday. There’s only enough room in my head for books, ideas, and projects – so my short-term memory is terrible.
Also, in reality, this schedule gets thrown off constantly by art modeling. With all the rushing around, it takes me two days to clear my mind and be productive again. I store a lot of pain from the poses, and that too takes recovery time. So I’ve decided that for the New Year, I’m going to mark in pencil the days that I am available to model, and the days that are for my own work (to avoid over-booking or erratic schedules). Hopefully, this way I’ll be less apt to get into the stressed out, anxiety place. The work you do in your own time matters and needs to be prioritized. This has recently paid off with the sale of my largest painting – allowing me to work as a writer and artist full time for at least the next five months. A much needed change of events after developing a bad case of Sciatica from a difficult pose, which cost me the ability to walk for two days. This too, was a reminder to work harder as an artist, rather than for pocket change as a model. I want to give my utmost, and the utmost I can give is in art and writing.
An important aspect of living creatively is to keep your mind open. Explore not just styles and forms that you like, but also the things that you don’t understand. There is something to learn everywhere, in all facets. If you stay holed up for too long, you lose viable chances for synchronicity (or connections) that produce more ideas for great art. In my downtime, I visit galleries, museums, go to plays, restaurants, and explore antique shops and boutiques. Sometimes I’ll run into an art friend and learn something new as we talk. Sometimes I’ll see artwork by people that I know, which makes me feel happy for them, while also inspiring me to work harder.
In the realm of success, there will always be someone who is doing better than you are. It’s hard not to feel envious – but that envy is an important force that can motivate you to go beyond your own perceived limits. I often read a magazine that highlights the “It People” of the Seattle arts scene. Some of them are talented. Many of them are just popular and great at promoting themselves and their ideas. I can’t help think that they will probably be here today, but gone tomorrow. I can never understand why certain people win the awards, while the other more talented people don’t. It makes no sense. Art is subjective. So I say to myself – would I rather be the boy band that gains tremendous popularity and then burns out fast from over-saturation? Or would I like to be the person who continuously works hard to create great work with a long career – like Leonard Cohen for example. The answer is obvious.
Often, when I’m not in my studio, I think that art is crazy. I wonder why I do it, and why I feel the need to do it. Yet while working, I am completely absorbed in a meditation, and unaware of anything else. Nothing outside of it can touch me. Maybe that is the answer. Or it’s the constant surprise of images and shapes that blossom in front of me. It seems like magic.
I don’t have the same questions about writing. Writing is how I process and grow – it’s second nature to me now. My problem with it is, that not nearly as many people read my writing, as I would like. Words also create barriers between people, and often my words inspire people to attack me and hurl hateful comments in my path. For some reason, they think this is appropriate when they haven’t even met me. Similarly, I often assume that they are angry psychopaths who spend all their time in dark basements.
One major thing that I have learned from the experience of having my writing out there is that once the writing is released, it’s no longer mine. On one hand, the writing might have been true of me when I wrote the piece, but as time passes, it no longer is. It only exists now for the reader, and their experience of the piece is separate from myself. Whether they affirm the piece, or hate it – it’s no matter. What happens out there isn’t really important, and you can’t take it personally. It’s good to avoid all reviews and comments as much as possible. While on this blog, however, I enjoy the dialogue that a post can inspire.
Getting lost in the meditation of writing or painting, undergoing writer therapy, having epiphanies, solving problems – as they say, the joy is in the journey. There is no joy after the fact. I do it for the process. Once it’s done, I’m done with it too. We rarely know the extent of the effect that our work has on other people, and once the work is out there, it’s no longer yours. It’s for everyone else and how they interpret it.
In all honesty, I wish that the only people experiencing my work were people I’ve never met before and never will meet. It would be easier that way. People have certain perceptions of me, so if they read my memoir, for example, they’ll suddenly find out that I lived this whole other life that they might find distasteful, strange, or odd. They come to know things I don’t even tell my closest friends. For this reason, even though I’ve written a second memoir, I might not publish it. We’ll see. I’m choosing to be less personal now, which is something that happens with age.
More and more, I find, that people outside of my art subculture have a hard time understanding me. I too, have a hard time understanding them. It’s always been the case, but it seems to be getting more extreme as time passes. Maybe it’s because, again, I’m getting older. The bank teller assumes I work a corporate job, and wonders why I’m out of work so early. No one outside of an art studio gets what I do for a living, and they automatically think perverse thoughts about what it means to be a living nude.
This is another core of being a creative person. Groups are dangerous places where progressive thinking is stunted by peer pressure. In education, you might end up with hundreds of students who all are ingrained to think the same way, draw the same way, with little that is unique or groundbreaking about what they are doing. In religions, progress has been stunted for thousands of years by the commitment to never question faith or explore anything outside of it. In politics, fascism has ruled in the same way. Corporate culture, again, plays on delicate balances of rules and standards.
I am nearing the end of my 35th year, and I’ve been watching creative people fall off the map in order to make ends meet. It happens for several reasons. Number one is that they have kids. People often go to extremes as young parents. They can get insanely religious, or obsessed with being healthy, or driven to make as much money as possible. Number two, the older you get, the more that fears of financial insecurities can loom. We start thinking about health concerns, how quickly time passes, and age.
Even though I only make enough money to get by, there are still things that can be done to lessen my financial worries. I just started an IRA retirement fund, for example. I’m hoping to invest 15 – 20% of my income. I also do my best to live simply. I wear variations on the same theme every single day – black leggings and a shift dress (again, less decision-making). I’ve learned to cut my own hair if I have to. In my single days, I never had a car or a TV – I could still do without both if it came to it. The thing is, I’m happier living this way than I ever was as a kid who had every material possession I wanted. Doing what you love is the most important thing in life. Sacrifices feel like nothing in the face of losing that. People come and go, but your passion stays with you and keeps giving back. In fact, it’s the passion that has always drawn people to me in the first place and vice versa.
The last, most important thing to remember is that being an artist is not a selfish act. I get sick of hearing that to be an artist you have to be a narcissist – said in the most spiteful way. To explore one’s own psyche and reveal it to the world is a courageous activity. What other psyche do we have? The only one we can see into most fully is our own. And in that lies the stories that connect us together and unify our total human experience. The artist makes the viewer or the reader or the listener feel less alone. The artist tells us, you’re not the only one who’s had crazy experiences that are hard to understand. Life is hard, but we have beauty to make sense of it. It’s this creativity that keeps us sane. It keeps us asking questions, and builds our civilization into something better than it was before. The artist is a giver – maybe not of their time (which is so limited in the face of creation), but of their ideas, perceptions, and philosophy. Art is how we grow.
April 27, 2014 § 1 Comment
My first impression of Ellis Avery’s novel The Last Nude was, “Oh brother, another tale of the artist sleeping with the model.” I’ve been hard-pressed to find a book or a movie where this doesn’t enter the plot. Of course, much of history upholds this narrative with Diego Rivera’s mad lust for his models, Lucien Freud’s misogyny, and Picasso’s narcissism. In the film Venus, Peter O’Toole’s character has an old man boner for a young girl that he convinces to model – the purpose, of course, being so that he can peer in through a window and see what she looks like naked. The idea of the art model as an object of lust is really the only narrative we hear about in the mainstream.
The most realistic representation of what the artist/model relationship is like is in a French film entitled The Artist And The Model. This film was not only very realistic, but it showed the process of making art in a way that we never get to see outside of actual studios. At one point, the artist feels the curve of the model’s knee and reaches around the muscles of her shoulders, which makes her rather nervous regarding his intentions. Set in the forties, there were less rules then. Today, an artist generally never touches the model, though sometimes it still happens in the most unobtrusive ways.
I’ve written before about how I often run across people who are judgmental of my life as an art model. They picture the studio as some den of depravity, where pervs are sketching me one minute and jacking off in the bathroom in the next. Those that judge seem to think of me as some kind of enabler. They admonish the thought of running across a painting of me nude, and then what?
As I leave my body to be still in the pose – I observe the artists as they grow in their skill, approaching the difficult equation of capturing the human form, creating shape through shadow and light, measuring each angle, examining my structure next to a skeleton, identifying every muscle and how it connects to other muscles and bones. I am a living and breathing human anatomy lesson.
From my point of view, art modeling has been a study in subtle realistic poses – contrapposto, odalisque, the curve of the back, the angle of the head. I know exactly what my body can handle for what length of time. The pressures of stillness are a strange study, and I’ve learned from many mistakes – how to create poetry while balancing your weight to avoid pain.
In The Last Nude, the famous Art Deco artist Tamara de Lempicka picks up an American female model in the Bois de Boulogne. Rafaela is still a teenager, but she’s been selling her body to old rich men for a life of independence in 1920’s Paris. Tamara seduces her, and Rafaela falls in love. It’s the first time that Rafaela sleeps with a person for the love of it, rather than for what she wants. But is that really the case? In the heat of their summer together, Tamara paints the most stunning nude of her career. She keeps her motivations a secret from Rafaela, and to the young naive girl, the relationship is not what it seems.
I work in a wide range of settings, mainly art schools and private studios where several artists gather for sessions. I enjoy the people who call me to come in every three months. They’re dependable. It never gets too personal, but it’s always fun to see them after a while.
On the other hand, working for the people who get swept up in me as their muse can at once feel more relaxed and have an increased sense of pressure. The more they look, the more they see new lines that amaze them. Or they think of new scenarios to pose me in, week after week.
I get stuck having to wear my hair exactly the same way for months of sessions, and once I was chided for the fact that my hair grows. At times I feel claustrophobic being around the same people for too long (another reason why the variety of the job generally works well for me). Then I begin to resent how much I come to love these people, knowing that one day they’ll drop me and move on to the next model (as they should). Whether or not I’ll get to see them much after that point is left to be determined. When you are an artist, there is little time for friendships. Everyday is devoted to work. This is another cliché’ that gets broken – artists are not lazy, and their quest is somewhat obsessive and heroic for all the obstacles in their way.
Outside of the studio, the social strata present degrees of separation. More well known artists are likely to give you the feeling that you need to take a number to talk to them at art shows. The excessive amounts of time spent in their studio, countless meals eaten together – it’s all for naught when your time as muse is up. The intense connection dissipates over time.
Models have been fighting to be more than just the model since the dawn of figurative art. Before the 20th Century, female art models, dancers, and actors were basically viewed as “whores”. The main motivation of whoring yourself is to gain money and power and find success in the thing you love to do (which usually doesn’t involve seducing ugly old rich men). It’s a way out of poverty for people with assets and aspirations beyond the daily drudgery of life.
It makes sense that throughout history, models have often slept with the artist, especially in cases where the artist is wealthy and socially mobile. Sex can feel like a transfer of power, genius, and a solidifying bond. But in extremes of power imbalance, it often ends badly for the model.
Of Picasso’s models and lovers, overall, their lives ended in complete disrepair. They never recovered. The only one who was a success post-Picasso was Francoise Gilot, who left him of her own accord, knowing that her art career would go nowhere if she continued to live in his shadow.
The model remains as a vague representation of a person. A person we will never truly know. What makes the Mona Lisa famous? No one knows what she’s actually thinking, but whatever it is, her thoughts look very interesting. That’s the trick of being a good model – to always have a curious mind that never stands still within the stillness of your body. I love to be within my brain, barely aware that I am onstage, ignoring intense amounts of physical pain as the warm air of the space heater embraces my body.
I’ve seen thousands of versions of myself in drawings and paintings, and it is rare that any of them really fully capture me. I’m counting about five in my head right now. But that’s not really the point. My body is only a guide to what the artist sees. After so many years at it, I still feel excited to see what people are working on, and feel a sense of surprise when there is a new voice that speaks through the fascinating curves of lines and paint. I don’t think I’ll ever lose that sense of wonder, because I am an artist as well.
For the last year, I’ve been increasing my time and efforts in my painting practice. I knew that painting would come back to me one day. It was all I did for so long, and then went away when I became a writer.
People struggle with the idea of others in more than one role. They are sometimes amazed to see me painting. There is a tug of war between days that I model, days that I paint, and days that I write. Models are never just models. They are poets, actors, burlesque dancers, musicians, singers, and artists. It is the perfect job for the creative person who wants to make their own schedule, be their own boss, work as much or as little as they want to.
Hopefully, the majority of our lot will make something of themselves. I overheard a well-known artist say, “We’ve lost so many models to thinking that they want to be artists. It’s a real problem!” Quite a lot of people would like to see others remain in their known role. It’s up to each of us to make our lives what we feel it should be.
I never stop reaching for greatness. It’s a magical thing to work for people who teach me to go that much farther. Art is a discipline; a playfulness; an openness; an exploration. I get to watch people create from onstage, and then go home and do the same. I’ve found my place in Seattle through my work, and I’m building a sense of community and friendship.
Did I mention that I’ve never met a model that slept with the artist? It wouldn’t bother me if I did. But the point is, it’s a job like any other. Word spreads fast, and we depend on the money to get by. For those that don’t take it seriously, go ahead and fool around. Though trust me, overall, artists aren’t nearly as sexy as people make them out to be. We’re a nerdy lot.
December 3, 2013 § 1 Comment
I just finished painting a portrait that feels like the source of my previously untapped visual language. For a long time, I have been searching, seeking the story I want to tell through paint. As an art model, I hear voices of teachers speaking their own language, exerting their own ideas, often asking their students to copy their vision to learn to paint well. The result is a less technically advanced reproduction of the master.
One time in class, a student went to retrieve her painting from the drying rack, but she couldn’t remember which one was hers. Sometimes, it is impossible to tell. I see drawings of a figure, all from different angles, but they all look as though they were drawn by the same person. They are all beautiful drawings, but they are missing an individual voice.
Drawing or painting from life is useless if the artist fails to bring their own particular way of seeing or feeling to their art. Students take classes to learn technique. Hopefully after the fact, they will learn to express themselves and leave rigidity behind. But it’s not for certain. Art stands out from the mass production of images only for that very ingredient of self-expression. It’s the expansive silence amidst the endless noise. A meditation.
In Marion Milner’s book On Not Being Able To Paint she describes the process: “It now looked as if some of the spiritual dangers to be faced in this matter of coming to see as the painter sees were concerned with the transfiguration of the external world; in fact, with a process of giving to it something that came from within oneself, either in an overwhelming or a reviving flood. Also this process could be felt as a plunge – a plunge that one could sometimes do deliberately but which also sometimes just happened, as when one falls in love (Milner, 31).”
Through observing artists and students at work, I eventually came back to exactly where I started – an expressionist style that shares the inner humanity of a person, rather than our idealized perceptions of them in the broader context. It’s an empathetic exploration that can’t be achieved by painting from a photograph, no matter how hard I try when I’m not in a studio.
“One of the things that had been so dissatisfying about those deliberate drawings which were sheer copying of the object was that they had no life in them (Milner, 41).”
As far back as I can remember I have been drawing the human form. In grade school, I was obsessed with becoming a fashion designer. It was a glamorous fantasy life that I had all worked out in my head. In sixth grade, I created a book of at least twenty fashion illustrations. I still think of some of those designs today, and wish that I could wear them. But my friend bought the drawings for ten dollars, and knowing her, she probably told people that she drew them herself.
From grade school through high school I was drawing so much that I barely passed my classes. Usually I had an F all semester, right up until the last few weeks when teachers began to feel sorry for me, or didn’t want me in their class all over again. I could never hear what the homework was, or that we even had any because I was too absorbed in the drawings on the margins of my notebooks.
I made it into a small Christian college on a probationary basis. It was the first year they were offering Art as a major, and it was a disorganized and scattered program. I took Modern Art in my first year, but the professor spent the whole semester on Impressionism, and barely made it into the 20th Century. With only two weeks left, he panicked, and asked us all to pick an art movement, write a paper on it, and present it to the class. I chose Art Nouveau, which was based on the curves of an organic environment.
The art teacher was mainly a potter – vases and bowls were his passion. The other teacher was well known for his complex watercolor landscapes. I had the sense that there was very little they could teach me. I’d just come out of Advanced Placement Art in high school, and had spent the entire year previous creating a portfolio of work. I wanted to be taught things that I didn’t already know, rather than carry on an independent study at a very expensive school. So I chose fashion and writing/literature instead.
I continued to paint on my own time in my dorm room. People kept asking me to do paintings for them, usually from grainy, indistinct photos – either of them as children, or their grandchildren. Kids were the antithesis of everything I was driven to paint. There was no life experience in their faces, only an empty canvas of a life waiting to happen. When I finished the commissions, I failed at receiving an appropriate amount of pay, even to cover the cost of supplies. It was something that should have been agreed up-front, but I had an aversion to discussing anything having to do with money. In my frustration, something snapped, and I stopped doing art altogether. I felt like a sell-out – somehow, money had ruined the craft I loved.
Every now and then, I found an interesting face in a magazine and I drew it in my sketchbook, or I’d sketch faces at coffee shops. Then the day I first fell in love, I started a sketch and never finished it. Poetry began to take up all the blank pages, and writing became my new form of expression. I was pulling back the layers on my honesty, daring myself to go further and further. My stories began in paint, then they became poetry, then fiction, and then memoir.
A funny thing happened after I published my memoir. I felt horribly exposed. More naked than when I stand on the podium posing for artists. Even though I am almost finished with a second memoir, I’m not sure that I will publish it. I would like distance from the genre, except in this book blog, where I write more about my present state of mind, rather than the feelings of a past self that I no longer identify with.
The sheer amount of work that went into creating a quality book burned me out after months of twelve-hour days on editing and formatting, and designing the cover. So all summer, after the book came out, I needed some distance. During that time, there was a rumble. Posing on the stage, I began to feel intense and painful currents of envy towards all the artists who were drawing me. It felt necessary that I come back to my place on the other side of the easel – but this time, as a fully formed adult with a clear sense of vision.
It had started out subtle. In the spring I drew at a studio nearby a few times. I wasn’t sure if I would stick with it, and I didn’t have much spare time. But then I began looking at art more and more with a rather dissective tendency. I teetered-tottered between classical painting and a modern expressive style. I toyed with the abstract qualities of an artist I worked for all year. I asked myself, in the struggle to find and express a language, “What do I like to look at? What gives me a rush?”
A few of my favorite artists are Lucian Freud, Alice Neel, and Egon Schiele. These artists capture something else about our reality than what is visual to the basic eye. There is messiness, pain, scars, movement, a beating heart pulsing on the canvas. Looking at their work, you commune with the sitter by moving through their humanity. You sense their struggles. But you also feel their strength.
An excellent example of art verses mass media is Lucian Freud’s painting of Kate Moss. Towards the end of his life, she sat for him, and what resulted is a Kate we’ve never seen before. We are used to cool Kate. Perfect in her rocker-girl chic, her perpetual bed-head, the pout and the cat eyes. She is surrounded by mystery. But Freud strips that all away and shows us a person. Not a model or a celebrity or someone who’s been airbrushed too many times to count. He’s not showing us a life we desire to have. He shows us a naked, vulnerable, human being who is mortal like all the rest of us.
There are many classical painters at the school where I work, but I soon realized that their paintings left me cold. At first, their work seems incredible. Their technique is awe-inspiring. But more and more, I saw the tricks. It’s just as airbrushed as what we see in the magazines. They fuzz out the detail to give the painting a romantic feel. They exert over us an idealized view of life. It reminds me of church.
Working from a photo is a similar pitfall – a copy of a 2-dimensional flatness of light. There is very little you can bring to the table as far as expression goes. For years, I painted and drew from photos, and never really questioned it. I wasn’t aware that I had a choice. I had no idea there were so many options out there for drawing from a model. Subconsciously, I think going into modeling was an attempt to find my way back to art.
So I’ve listened to hundreds of art lectures, stared at hundreds of paintings, and have finally pinpointed exactly what I like to look at. Now came the challenge of putting that into practice.
I began to go to a studio every Friday afternoon, working from a several weeks long pose. In the last three, I developed a 9X12 portrait of the model Ifat. The first thing to be struck by is her beauty. It takes time to get past that, and analyze what it is you are actually seeing. The process becomes a breakdown of bone structure and muscle; light and shadow; and how her face moves, even in stillness. How does the color play across her skin as it peaks and valleys?
The more I began to see, the more I could see everything in everyone. Every face I look at, I am painting in my head. I am seeing the light and how it changes the face at different times of day.
This portrait feels like a major achievement for me. It went beyond the stereotypes of beauty that so often make paintings look cheesy. I stopped worrying about what could be perceived (Did I age her? Did I make her look too world-weary?) and broke it down merely into what I actually saw. Not what I think I see, but what is actually there in the present.
One difficulty that occurred was that what I saw changed week by week as Ifat’s face changed or the light was slightly different. Working from life is never static. That movement becomes alive in the artwork – at least when there is success.
Artists often feel that if they get to know the model too well, it will be harder to see them. Though drawing a person for extended periods of time, you get to know them in a way that their closest friends never will. It’s a way of knowing that has nothing to do with words.
I like to express that knowing through the face. I spent much of last year being painted as a faceless figure. The body I saw was a body I don’t fully identify with – the faceless woman body. There is something objective about it, without the face to give the body a story. The paintings have more to do with composition and sense of space than with the actual person posing as the figure. It’s a different philosophy than what I personally identify with in my need to create.
As a writer, I feel that great art is not complete without a narrative. It might explain why I would rather visit artist’s studios, and hear their process, rather than go to sterile galleries with nothing of the person there to explain their work. I like to see what books the artist is reading, and what they have tacked up on the walls. I like to see how they arrange their palette, what colors they choose, what brand of paint, what mediums. If it’s an abstract piece, I want to hear the story of how they layered grey over red over black to give the piece a depth that the average observer would never notice without the explanation.
Painting the figure is a narrative of my own life – how I’ve seen the world through every phase, every decade. I started out looking for people who could teach me something through their faces. I am returning to the beginning.
From the start, I was more essentially myself than what I give that undeveloped age credit for. The artists I love now are the same ones I loved then. There are sketches from those early years that I’d be hard-pressed to achieve now. All through those twelve years of not painting, I knew that I would come back to it someday. My style now is different, and yet the same. Though, I’ve learned so much in the past few years.
I don’t know if I will ever have a gallery show, or where my love of painting will lead. Paintings of Ifat are taking over the living room. She appears over and over wherever I draw or paint, as the beacon for my new eyes. Eyes I always had, that could never quite see in this way before. Art has always brought me something more than I thought I was capable of. It’s so important, leading us to a greater capacity of self, empathy, understanding – a heightening of the senses taking us beyond where we thought we could go.
November 16, 2013 § 6 Comments
When I married, I lost some of the respect I had gained as an independent, single woman. It was a change that I hadn’t seen coming. Strangers, without fail, defer to my husband. Servers only talk to me as an afterthought. We just had an experience at a steak restaurant, where only the men were given complimentary Port after dinner. It’s not only with strangers – I’m often asked by friends and family, “Is your husband okay with that?” As though I have a master waiting for me at home, rather than Michael, who loves me most for my strength and individuality. In fact, that is what I love most about him as well.
Michael can tend to be larger than life, and I often have to remind myself to step up and not fall into his shadow. As I’ve acclimated to our life together, I’ve learned I have to work much harder to earn the respect of everyone we meet. Instantly, it seems, people look up to Michael; whereas, it could take me years of being around the same people to receive affirmation.
Just in my lifetime, enormous strides have been made towards gender equality. But there is still so much of our culture that is steeped in Puritan roots. It is in our words, in our archetypes, and in the way that we view each other.
Within the patriarchal language of the church, woman is “the other.” “Society as we know it has a perverse need to create ‘the Other’ as object of condemnation so that those who condemn can judge themselves to be good (Daly, 60).”
It was doubtful at one point in history, whether or not women could actually be “saved.” Ideologically, she exists only as the property and projection of her husband. All other incarnations of women become a risk to the establishment – such as Joan of Arc who was burned alive by the church for the sentence of being a witch in 1431. Once hundreds of years had passed, she was then declared a saint in 1920.
Joan of Arc was a woman who could not be possessed in life, though the church has tried to claim her in death. In the symbolic paintings of Franz von Stuck, we see many versions of two men wrestling or fighting to “possess” a woman. Concurrent to Stuck’s era, this was a concept that Darwin explained, though obviously, he wasn’t the first to think so. It’s an ancient concept, having less to do with biology and more to do with a patriarchal power structure. Men projected their identities onto women, and displayed them as the prize of their success. Hence, we feel a little bit ill when a man trades in his wife for a younger version. Or, for example, when the leader of a cult has more wives than anyone else in his group – the ultimate sign of power.
I had the unfortunate experience of once dating a man who actually told me that he wanted to “possess” me, and said, “You are mine.” His general confusion led to death threats and court orders and drug abuse. For months, I was watched by people he hired, scared that he would turn up at my door. I understood, then, that a person’s desire to possess can turn into the mutilation of the thing they can’t have. In other words, I was an object to be claimed, rather than a human being.
Throughout the midcentury, it was commonplace for husbands to shut away their wives in mental institutions for displaying too much dissent over prescribed roles. In the tremendous shift towards liberation, women were no longer accepting their lives as a mere projection of their husband’s. Over 50,000 lobotomies were performed in that time, the majority on women.
“On February 24, 1972, Dr. Breggin’s article, ‘The Return of Lobotomy and Psychosurgery,’ was read into the Congressional Record. Discussing the remarkably large proportion of women who are being lobotomized, Dr. Breggin explains that it is more socially acceptable to lobotomize women because creativity, which the operation totally destroys, is in this society ‘an expendable quality in women (Daly, 65).'”
In Mary Daly’s Beyond God The Father, she challenges, “That language for millennia has affirmed the fact that Eve was born from Adam, the first among history’s unmarried pregnant males who courageously chose childbirth under sedation rather than abortion, consequently obtaining a child-bride (Daly, 195).”
From this myth, we gather that the male is the dominant sex. But in biological truth, all mammals begin as female. Even for those who inherit a male sex chromosome (XY), throughout the embryo stage we all remain and develop as female (XX). At the eighth week, the male embryo begins to produce testosterone, veering off course from the female starting point. If an embryo doesn’t respond correctly to male sex hormones, it will revert to being female.
The idea of a dominant sex is false. You can’t have one without the other. We are all individuals, with unique traits that in the past have been repressed by prescribed gender roles. Of course, there are many places in the world where these roles are still in place. Those regions are all governed by extremist religion. I have noticed that no matter what, religion is always extreme. It consumes the lives of people into false ideologies, and an “us verses them” mentality, which leads to violence and genocide.
“The symbol of the Father God, spawned in the human imagination and sustained as plausible by patriarchy, has in turn rendered service of this type of society by making its mechanisms for the oppression of women appear right and fitting. If God in ‘his’ heaven is a father ruling ‘his’ people, then it is in the ‘nature’ of things and according to divine plan and the order of the universe that society be male-dominated (Daly, 13).”
As a result, women have lived in submission, with no recorded history. I wonder over all the untold stories; the women inventors (where men took credit); artists, writers, composers we have never been given the experience of enjoying. For example, Fanny Mendelssohn, sister of the famous composer Felix was an enormously talented composer in her own right. Yet in 1820, her father wrote to her saying, “Music will perhaps become his (Felix’s) profession, while for you it can and must be only an ornament.”
Our society has experienced a tremendous loss for the fault of not allowing women to be human beings in the past, and we are barely aware of it. We have forgotten, because we were not allowed to know in the first place.
In their representation as “the other,” women have been dealt implausible archetypes such as the virgin mother or the ruinous Eve. A mother is shamed for remaining a sexual being. A young twenty-something is glared at for being too beautiful. It’s her own fault if she is physically attacked. If you are a woman, you will experience some form of these instant judgments on your life.
Joan Rivers is a perfect pop culture example of this. Watch Fashion Police just once, and you will see her non-stop tirade against women. She represents the worst aspects of patriarchy embodied in a female. Most of her jokes revolve around slut-shaming and the idea that if a woman wears a skirt that’s too short, she is dirty and diseased. Rivers never directs a single unkind word towards men, and if she does, it is directed at their fashion rather than their perceived lifestyle.
“Obscene is not the picture of a naked woman who exposes her pubic hair but that of a fully clad general who exposes his medals rewarded in a war of aggression; obscene is not the ritual of Hippies but the declaration of a high dignitary of the Church that war is necessary for peace (An Essay On Liberation, Marcuse, 8).”
The “obscene woman” is often used to create a distraction. The battle against abortion raged while 4 million civilians were being killed in Vietnam.
When Hilary Rodham Clinton ran for candidacy in the 2008 presidential campaign, she was referred to as “The Bitch,” and “Her Thighness.” She was berated for showing cleavage while talking to the Senate. Rush Limbaugh asked the question, “Will this country want to actually watch a woman get older before their eyes on a daily basis?”
I remember the exact sense that we were being distracted from her achievements by attacks against her female body. These attacks seem to be the reason why she turned down a Vogue cover shoot for the risk of appearing too feminine. How can you blame her, when her body seemed like the biggest obstacle to winning the race?
“The power of presence that is experienced by those who have begun to live in the new space radiates outward, attracting others. For those who are fixated upon patriarchal space it apparently is threatening… Such women are no longer empty receptacles to be used as ‘the Other,’ and are no longer internalizing the projections that cut off the flow of being. Men who need such projection screens experience the power of absence of such ‘objects’ and are thrown into the situation of perceiving nothingness (Daly, 41-42).”
Mary Daly wrote these words in the early 1970’s. She considered the sexual revolution of the sixties to be a failure. The illusion of liberation hid the fact that though they attempted to go beyond life as a possession, they remained as objects to be claimed along the way. Like Hilary Clinton’s stance on the Vogue cover shoot, women of the eighties fought against objectification with the power suit. One of the first fashion memories I have of my mother is her shoulder-pads that could Velcro in and out of sweaters, dresses, and suits. They gave her the instant look of a Quarterback.
In the nineties, every week there was a new battle being fought. Sexual harassment lawsuits were a new concept. Rape culture was exposed. Coming forward became more acceptable, and there was a slight chance that you wouldn’t be told you were lying, or that you caused the rape. Very slight.
In my Christian high school, we all ridiculed a girl for fighting against an issue of sexual harassment. We felt embarrassed for her. I too was harassed, but I kept silent because I was afraid. I felt powerless. I sat pressed into the wall of the bus, while a football player’s son leaned all of his weight into me so I couldn’t move. He ran his hand up my thigh and whispered things that made me cringe. Everyday, he waited for a chance to torment me, and he wasn’t the only one.
A year ago, I listened to women at an art talk say that they are genderless. They are sick of Feminism. I am too. We all are. It’s tiresome to fight. We’re so close to being equal, that we can almost ignore that we aren’t.
The truth is we don’t have the right to be sick of it. We wouldn’t have our lives as individuals without it, for one. We wouldn’t even get to have the elitist idea of being genderless if it hadn’t been for the women who fought for a century and more, before us. Older women are very confused and upset by the statement of being genderless. At the same talk, they reminded us, that they had to pretend to be a man to find any success in the art world. They used their initials instead of their first names just to get a gallery show.
To say genderless, though, has some positive aspects. It says “no” against sex role stereotyping.
I do not want women to rule the world, and I do not want men to rule the world. We deserve total and complete balance. There is a sense, that if Hilary Clinton runs for President in 2016, she will not face the same abuse and slander that she dealt with the first time around. More and more, we see women running companies, becoming scientists, lawyers, and politicians, following their dreams and finding success.
The next generation is an entirely different breed than my own. Young women that I meet really impress me. They make more money in one year than I’ve made in a lifetime, and are buying houses at the age of 23. They’re not wasting time. They have goals, and I have no doubt that they will meet them. I will never exactly be that sort of person. The society I grew up in treated me as “the other.” But it’s enough to see the magnificent change.
August 30, 2013 § 1 Comment
Every year, I look forward to the end of the year student sale at Gage Academy Of Art. Not only is it fun to show my husband the works of art that result from my job as an art model (which are always out of our budget), but I love the prospect of finding an exciting piece at a really great price. Investing in the artist’s of the future is a beautiful experience. I wonder if my husband and I will end up like Herb and Dorothy Vogel – on a beer budget while living in a place where art rules the house.
This year, I fell in love with Helen Bouchard’s value study of John The Baptist, by Caravaggio. The young boy looks decadent and satiated, nuzzled by a lamb that he embraces. In Helen’s simplified version the mastery of the composition truly comes to life. I can’t stop looking at the left foreshortened leg, and the way the pose circles around on itself.
My obsession with Caravaggio began with that study, which now hangs on our bedroom wall. Since then, I noticed
at the museum, how Georges de la Tour was influenced by Caravaggio’s contrasting darks and lights. I read how Caravaggio was possibly influenced by the religious theatricals of his youth. Through his love for life study, he brought a realness to the characters that he depicted, which was previously unheard of. Sunburned skin, a deformity of a finger, an angel that actually touches St. Matthew. His scenes are caught in the middle of an action, not before or after, which was an influence on filmmakers like Martin Scorsese who captured real people of the streets in action with grit and humanity.
I decided to take a class this month called Copying the Masters: Caravaggio. On our first day, we were asked to choose a color copy of a Caravaggio painting to work from for the entirety of the class. I had gone in hoping to paint a Bacchus, but instead I was drawn to a brooding shepherd boy with the shadow of dark thoughts.
When I got home, I realized I had picked a later version of John the Baptist. It seemed meant to be. John the Baptist was a messenger. I view myself as a messenger – though my messages are of an entirely opposite nature.
We prepped our canvases with a burnt sienna gesso (I had also pre-prepped with two coats of oil grounds which gives the canvas a smooth and slick base). We drew the basics with chalk, and then began with an under-painting of burnt sienna thinned with linseed oil, as we built up the lights and darks.
In the style of the masters, an oil painting begins with Burnt Sienna and Cremintz White, where the shading is developed. From there, the painting goes into grayscale. And then finally, the intense colors are glazed over the top. This is an extremely structured way of working, and I struggled not to rebel. I love color, and I impatiently added too much too soon. Oils are naturally translucent, so the style of the masters can almost seem like watercolor in the final stages.
Cremintz White is hard to find. The only line of paint I found that still carries this lead-based white is Winsor & Newton. It goes on silvery and thin, and is built up over many layers. Our teacher, Michael Lane, told us when they exhumed Caravaggio’s body, they found a high level of lead in his remains. Michael relayed how the 19th Century Russian artist, Fechin, thought nothing of licking his palette knife as he worked (for the perfect mixture of water and oil in saliva), double dipping as he spread paint across the canvas. Fechin spent a fair amount of time in the hospital for this toxic habit, but probably never gave it up. Michael has a few toxic habits of his own, never wearing gloves, and using his finger to push paint around the canvas – refreshingly old school. As for me, I wear vinyl gloves when I work.
I am learning a lot as I try not to struggle against the structure of the old masters. Generally, I am an independent learner. I’ve absorbed an enormous amount just from being a model, voyeuristically taking it all in as I watch from afar. Usually, I get paid to be there, so it’s hard to swallow how much I’ve spent to be a student. Interesting to be on the other end. Three hours go by so quickly, in comparison to when I’m working.
This summer, painting has become my escape from the pressures of having my writing published and “out there” in the public eye. I’ve learned that whatever happens with released work, it has no real bearing on my actual life, and what really matters is my own daily personal craft. Painting has reminded me of that. It’s brought me back to the happy place. In front of a canvas, time disappears. Six hours seems like one. My brain goes into full focus. I get lost in line, form, and color while playing Beethoven. I don’t have to do it, but I love to do it. It soothes me.
Writing is something I have to do. It’s who I am. I never grow tired of it. Ideas push to the surface and flounder until they find expression. I have a message to share that I’m compelled to spread, like John the Baptist who may or may not have existed. He’s a legend. Eating locusts and wild honey, wearing camel fur, subsisting in the dessert. He seems to be my archetype this summer. A summer where I’m coming to terms with the Bible as literature rather than as the facts I was taught as a child.
Strangely enough, today I rescued a locust-like insect from the elevator, and who knows why, I released it onto my balcony (where it disappeared before eating the garden). For a while, I watched it scratch itself with it back legs, and clean its front feet. Tiny little eyeballs, and off kilter antennae. Perfect yellow green – Terre Verte mixed with Indian Yellow.
To understand Caravaggio more, I picked up Caravaggio – A Life Sacred And Profane. The book was less about his life, and more about his paintings and the time in which he lived. He lived from 1571 – 1610, around the time of Shakespeare. He spent much of his life on the run for violent crimes, and found success through patrons in the church. He expressed his sensuality through Biblical themes. His models were courtesans, workshop assistants, and painter friends, all posing as the elevated figures worshipped in the Catholic church. I like the irony of his models. Sensuous boys and prostitutes, bawdy people of the streets – some who eventually found fame in their trade.
In Caravaggio paintings, life does not imitate art, art imitates life. A thought so
scandalous, that his sunburned Bacchus disappeared in the collection of the Medici (so much was the embarrassment of a peasant in a painting) resurfacing 400 years later in the basement of the Uffizi.
Every other painter of Caravaggio’s era has faded over time. He was an embarrassment in his lifetime. But artists ever since have been influenced by his style. A style that came from within, and certainly wasn’t taught by his limp teachers. He sent the message of what painting could be, and no one could turn back after what they saw.
Now that the air is growing cooler, I am ready to be fully immersed in my writing again. But my journey with Caravaggio has brought me back to painting for good. The two seem to be in perfect balance. Writing searches the brain for problems and answers, while painting releases the brain, disappearing into meditation.