Nudes, Politics, Division and Emotionism
If there has ever been a blog title no one would ever search for, I think this is it.
Inspiration
When I started putting down the framework for this blog a few weeks ago I started writing about nudes in art through history. I was thinking about the Hellenistic period, the Renaissance, about Baroque & Rococo. But as the political climate in the US intensify with just days before the presidential election, I really found it challenging to concentrate on anything else. While I was listening to a Moma talk by artist Zora Murff, I decided instead of the mini history lesson I planned, to write honestly. Here I will share with you where the work I created this month originated from and what I really hope you may get out of it.
A few weeks ago I was fortunate to work with Caitie Rose, a brilliant model from Tennessee who stayed with me for a few days while we created some incredible work. While consuming political media (the entire spectrum from left to right) I worked on a series of small works of Caitie and inspired by her. Caitie and I also had long conversations into the small hours of the morning and I came to realize we have more in common than our love for figurative art. While Caitie was my inspiration and my muse, the series of 10 nudes (and counting…) are my states of mind, each a reaction of the events of the day.
Division
I chose to keep these pieces small and intimate. (all are 10x10” or smaller) They are subtle reflections on our tense and precarious political climate. They are reactions to news of violence, hope, confusion, strength, deceit and sincerity brought to the foreground during this volatile moment in time. Also my reactions to neighbors and friends’ ideas that I simply cannot comprehend though I continue to listen actively. I’ve been told “you’re a foreigner, you can’t vote!” (I can. I have.) My children have lost friends due to my beliefs and at school they’ve been confronted by bullies boldly demanding that they ‘endorse’ a specific candidate. I have learned instead of sharing my views to simply listen to everyone’s opinions and genuinely try to understand as I continue to advocate for truth, decency and tolerance. However, I’ve also been admiring people (like my muse Caitie) for their activism and strength in speaking their truth.
Why nudes?
In 2006 I received an email with the subject line: “My view regarding your work”. The author of this email took it upon themselves to systematically explain to me that all they see are nudes and nothing more. Also that all my work “seemed the same”. They continued to suggest “Why not direct your talent toward the ‘mother and child’ theme” or “try painting exotic places”.
I do not think of my figures as nudes but as vulnerable. I see their nudity as the purest and honest way to portray an emotion/idea/thought. Also, although I’ve heard many arguments to the contrary, personally I view that honesty as a sighn of strength. Jessica Backus, director of the Art Genome Project at Artsy talks about the moment in an art museum that one sees a work of art and for reasons beyond what words can describe, it moves you. Figurative and nude art is what moves me.
Visual emotionism
As we find ourselves socially distanced, emotional connection is especially important. In my August Blog ‘Art not for decor” I acknowledge that beautiful art gives us hope but also that art can make us less lonely. When a concept moves me or makes me feel more present, that is when I feel most alive. A younger me often allowed emotional struggles to get me down. Today I deliberately take their energy and redirect it into my work as inspiration. Some of the most brilliant artists like Rothco, Hopper or Viola focus exactly on that, some of the most fundamental human experiences including emotion, consciousness and spirituality. Like Leonard Cohen’s music that comfort us in our sadness, I feel art reflecting that state of mind can do just that.
It is of course understandable that one may consider ‘sad’ emotions as something to avoid. However, I think in acknowledging them we can enhance our human condition. I believe there is a reason Munch’s ‘The Scream’ or Picasso’s ‘The Old Guitarist’ are some of the highest acclaimed artworks. Hichem Naar from the University of Manchester asks ‘Are most of us guilty of irrational pleasure in liking what makes us feel bad?’ I think acknowledging all the complicated facets of human existence is very valuable.
Finally
To the author of that 2006 email, my work is not for everyone and is certainly not intended to be. Not everyone will be able to relate and I respect that. There is an endless supply of art featuring “exotic places” out there and I hope you found them. However, if there is just one person, viewing a piece I created –even if just for a second- feeling a little less lonely, touched or a little more present, it has been worth it. When these works will be exhibited in NYC next year this election will be lost and won but the complexity of our fascinating human existence will continue.
“A work of art which did not begin in emotion is not art ”