The squirrel

Hyndland house © Samantha Groenestyn, oil on canvas

Hyndland house © Samantha Groenestyn, oil on canvas

 

Sometimes it would be really excellent to have access to an art education, but sometimes you have to find a way to educate yourself. At times like this, the answer might come from Jack White, via a squirrel. ‘Take all your problems and rip ’em apart’: isolate, master, and finally, integrate.

Venus and Adonis ( / Jack White) by Abraham Janssens

Venus and Adonis ( / Jack White) by Abraham Janssens

Taking a class means you have a structure imposed on you, regularity and routine, and are fed ideas in a logical sequence. But in the event that you are not enrolled in a class, you can still find plenty to chew on, and with enough discipline you can create a solid routine. The important things are to be excited, to follow the trail and to be persistent. Travel affords one the perfect opportunity to get outside and work from nature, eyeballs twitching from all the spectacular new stimuli. But nature is hard: full of bugs, dogs, shrieking children, nosy people, trees, changing light and other painterly woes. One works with an urgency that can be shaken in the private peacefulness of the studio, but at the same time one finds the details mounting, crowding out the picture, looking rushed and untended to. I, for one, include too much, and struggle to keep the main design at the fore of my decisions.

Tree 1

George Clausen, whose Stone pickers (1887) I was fortunate enough to encounter in the Laing in Newcastle, expressed similar pains in his lectures to the Royal Academy (published as Six Lectures on Painting; 1904: 45): ‘Everything in nature is moving—not necessarily quickly, but nothing stands still for us; this sense of life and movement must be given in a picture with the measure of detail which may be necessary, and the result reveals the artist’s mind, showing on which qualities, and in what degree, his attention was fixed.’

Tree 2

So I have happened upon an approach that lets me both practice the elements and work at the broader design. Every afternoon I head out into the world with my sketchbook and choose something to devote my attention to. Perhaps a scene will strike me, and I will sit down for an hour, two, as long as it takes, and interrogate this setting from a design perspective. These drawings are fluid, scratchy, built of simplified masses, and usually paying attention to form, reducing trees to bulbous sphere-based monstrosities, and paying careful attention to perspective in the prisms of buildings. In these drawings I’m developing a notation for three-dimensional objects, as well as forcing them into pleasing arrangements. Many of these drawings go nowhere, but some form the basis of paintings. Mostly, they reveal what the smaller problems are, and demonstrate that tackling an entire landscape all at once is too big a bite just now.

Tree 3

Other afternoons I linger in a sunny park or bunker down by a swamp and draw the trunk of a tree. These organic forms produce surprising twists, and let me explore drawing quite fluidly and more freely than when drawing the figure with its predictable anatomy. Plus, they sit still for longer, so you can while away hours investigating in as much detail as you care to, and never run out of variations. As Harold Speed (1913: 106) reminds us, ‘Nature is the great storehouse of variety; even a piece of coal will suggest more interesting rock-forms than you can invent. … And it is never advisable to waste inventive power where it is so unnecessary.’

Tree 6

For reals, this tree exists.

Mornings, I like to start with a drapery study. My kind friend Elizabeth has let me pillage her scarf drawer which means I have an endless variety of fabrics—stiff, wispy, heavy, floaty, wiry and bunched—at my disposal. It’s a nice reminder that there’s not simply drapery, but that all fabrics have their own manner of drape; that they bunch differently, fall differently and fold differently. I started out with ‘drapery sculptures,’ complex creatures to test my accuracy. But I got more excited about the puzzles of fabric, and began to explore its incarnations: table drapery, hanging drapery, folded and twisted drapery; the little pockets and cones that form in it. And besides wrapping my head around the ‘mechanics’ of this mouldable form, I found these exercises to be an invaluable means of practicing modelling. My earlier drawings are harshly seeking out the cross-contours; my later ones, even after only a few weeks, are finding a more elegant way to express the softness of the surface of my subject.

Drape 1

And here comes the exciting bit. Having broken all my problems down and gnawed away at them, varying and repeating the tasks, following my nose and trying to solve the new puzzles that arise out of them, I see just how connected they are. For a tree is a person is a drape is a composition. The ripples of the surface of the drapery find their way into my trees, and the muscularity and counter rhythms of human limbs translate into those of trees. The design-oriented sweeps through boughs—always planted firmly on the ground—resurface in the capturing of a human pose, feet rooted just as surely. And a thin piece of cloth has forms as full as any living thing, and is not simply a web of shapes dovetailing together.

Drape 2

As ever, trusty old Bammes accompanies me on my explorations, and a little such guidance never goes astray. For it’s nice to work independently, but it’s also nice to receive tested wisdom and gentle reminders: ‘If skull drawing is not practised as if it were architecture, with a perpetual ordering of primary and secondary aspects—if it is not done with awareness—it will degenerate into nothing more than clever copying and will not provide any gain in knowledge or vision’ (2010: 222).

Drape 3

Clausen empathises further (1904: 54): ‘The student’s greatest difficulty is to find himself; what it is that he really wants to express.’ He observes that we are more inclined to seek our place amongst our contemporaries, to stay attuned to current creative trends and market-driven demands. But Clausen urges the student in her ‘search for general principles:’ ‘He should try and arrive at principles, and to that end study also the work of the old artists, who have travelled the whole road; depending on nature for his inspiration, while referring to them for guidance.’ Clausen suggests a delicate balance between personal encounters and struggles with the natural world, with observation and private deduction—just as a mathematician might privately prove axioms to himself as a sure footing for further creative problem solving—and a devoted study of the masters. In this light it is not simply a dreamlike privilege to be in Europe, with daily access to world-class galleries, but a minimum requirement of the student of art. One does oneself no favours by remaining in a cultural backwater, relying only on reproductions in one’s investigations into the great work of the past. Clausen (1904: 54) argues that such study gives us a belt of tools—of insights, ideas and trains of thought—to bring to our own battles of taming nature to the canvas. ‘For we train ourselves to see and understand, by studying the work of the masters, which help us to form our judgement before nature.’

Drape 4

This idea that we distill the principles for ourselves is, to my mind, paramount. No master of any field simply reads the elementary textbooks and gets on with making bold discoveries. Many a physicist has divulged to me that they have returned again and again to the foundational principles, oiled their minds with them, looked at them from every angle, picked them apart and pieced them back together unaided, and, after a number of years working on highly abstracted concepts, have seen these principles in a new light as their specialised understanding deepens. We need the surest, securest foundation for our endeavours, and however elite and respected and coveted our school, it can never simply feed us such a foundation. We must work through the smallest of problems for ourselves, and make each discovery, have each profound epiphany, at our own hand.

Drapes

And no less than the mighty Leonardo da Vinci will back us up on this. In his notebooks he admits to being no scholar, but to owing all to the mistress of experience. ‘Though I may not, like them, be able to quote other authors, I shall rely on that which is much greater and more worthy:—on experience, the mistress of their Masters. They go about puffed up and pompous, dressed and decorated with [the fruits], not of their own labours, but of those of others. And they will not allow me my own. They will scorn me as an inventor; but how much more might they—who are not inventors but vaunters and declaimers of the works of others—be blamed.’ (1888: 16-17).

Gnarly tree

In having the humility to search out general principles for ourselves, and becoming familiar with them inside and out, da Vinci argues that we will face our creative problems with clarity of mind. ‘These rules will enable you to have a free and sound judgment; since good judgment is born of clear understanding, and a clear understanding comes of reasons derived from sound rules, and sound rules are the issue of sound experience—the common mother of all the sciences and arts.’ (1888: 19) And so, artist or scientist, let’s not neglect the small puzzles, or rely on others to hand solutions to us. Let’s tear apart and then rebuild our own enduring foundations, one little acorn at a time.

 

You can snag most of the books cited free online!

Bammes, Gottfried. 2010. Complete guide to life drawing. Search: Kent.

Clausen, George. 1904. Six lectures on painting. Methuen: London.

Speed, Harold. 1913. The practice and science of drawing. Seeley: London.

da Vinci, Leonardo. 1888. The notebooks of Leonardo da Vinci. Trans. Jean Paul Richter.

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Fabled cities

Princes St GardensMy triumphant return to Edinburgh reduced me to a giddy five-year-old. The city had become part of the fabric of my dreams: otherworldly, symbolic, a mythological city of my own personal folklore. On my first foray into the wide-open world I settled on this place for no solid reason, and I built myself a life in this story-book setting, in the streets that seem to shift and change in their illogical woven arrangement.

Passage

I had little money, an odd assortment of things in a battered suitcase I’d picked up from the side of the road, and an acceptance letter from the University of Edinburgh. It had never before crossed my mind that it was within my reach to travel, for the world is so unimaginably distant when you know nothing but the unending expanse of Australia. But, with infinite cool, I persuaded myself that life abroad would be no different than life at home, and that since one could never be truly prepared it was best to just leap. I would simply study as I usually did, get a job as I always had, live simply and be open. Edinburgh marks the threshold: that attitude has come to define my life.

Black Medicine

Returning to Edinburgh after five years was nothing short of a homecoming, and I hadn’t expected to be so taken with it after all that has happened in between—the cities I’ve fallen in love with, the lives I’ve built. But this first romance is deeply rooted in my being, fondly dwelt upon, sweetly revisited. Those grey drizzled bricks and those winding cobbled passages are like nowhere else. The sheer magic of the geography: dreary laneways that usher you onto the Cowgate; spiralling roads that suddenly bring you to the Grassmarket; wind-whipped streets that back onto the Meadows. It’s nigh impossible to visualise your route, but from any given location you know three portals that connect to three other pockets of the city, and thus you skip from corner to corner until you find yourself where you hoped to be, or somewhere unexpected and worthy of exploration.

Tweed

Edinburgh taught me a boldness. It taught me to impose on others, to ask for the pleasure of their company, knowing they held back out of politeness. It taught me how far I could rely on myself, and to push yet further. It taught me that the world was within reach, and it taught me to be dissatisfied and to demand more. When I had made a comfortable enough nest in Edinburgh, I ventured out into Germany, the Czech Republic, Austria, Italy, the Netherlands. And I began to ask myself why I didn’t impose greater challenges on myself, why I didn’t know any other languages, why Australia seemed inevitable when my grandparents themselves had shipped their lives across the world. Perhaps we belonged wherever we felt we did.

Time travel

A past self, Edinburgh

Coming back felt like time-travel—like meeting my past self face to face, that often-solitary self who was first unleashed on the world, who quietly and unassumingly found her place like water trickling in between the cobblestones, before rushing on yet further, moving ever fluidly through the world. So many in my life don’t know this me, can’t see how profoundly I was moulded by this ancient place that has cocooned countless others before. But some know the bewitching ways of Auld Reekie—Anna concurs: ‘I always have a sense of happy contentment whenever I get off the train at Waverley.’ Either this unbelievable city is real, or I woke up in my dreams.

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Of respect and respectability

Lavender Gardens © Samantha Groenestyn; oil on canvas

Lavender Gardens © Samantha Groenestyn; oil on canvas

I lately find myself floating untethered across Europe, of unfixed address and relying on the kindness of friends. Determined to do away with distractions, excess possessions, and non-painting-related ambitions, my faithful and scuffed old suitcase and I have somewhat conspicuously fallen off the path of respectability.

wish

Making big wishes, Vienna

Wafting from city to city, from house to house, welcomed warmly into the homes of friends, I’m permitted into the private spheres of young doctors, paramedics, physicists, engineers and environmental charity workers, and granted a sobering insight into the contrasts in our chosen careers. But I’m also freshly awoken to how difficult it is for each of us to forge our way. My friends are well-travelled, well-educated, some are employed, some have suspended employment for the sake of a relationship, some have worked offshore, some are physically overworked, others are mentally under-challenged, some need to secure funding to guarantee their own ongoing employment. Those of us with money are not necessarily respected, because their jobs are too physical or not demanding enough of their time. Those of us who are working for the betterment of the world are anxious at not contributing enough. And I, as capable as they, cling resolutely to my cause in the face of my meagre earning-power.

Married to the sea, my all time favourite web-comic

Married to the sea, my all time favourite web-comic

 

 

 

 

 

 

 

 

 

 

This unsettling confrontation with earning ability has been somewhat tempered by some thoughts from philosopher Alain de Botton. I found his book Status anxiety on a bookshelf in a new home and read it hungrily and hopefully. For at heart, we all want to occupy ourselves with something which challenges and satisfies us, and we want others to respect us for our efforts. But are our equations, prescriptions, policies and drawings enough when the measure held against our work is money? De Botton lays out an historical account of our attitude to wealth that can at least reassure the financially-challenged that they are not necessarily worthless. He describes the complete historical about-face of our estimation of wealth, and, most strikingly, its connection with virtue.

Poverty wasn’t always such a psychological burden to bear, argues de Botton (2004: 67-68), particularly in a world where one was born either into nobility or peasantry according to God’s will. One’s moral worth could not be wrapped up in one’s social standing if that immutable standing was allotted by God. Poverty might bring physical discomforts, but not shame. And since the aristocracy acknowledged that their luxuries were only made possible through the untiring efforts of the lower classes, it was only fitting that they demonstrated charity and pity toward these unfortunates. A delicate balance of interdependency between rich and poor reinforced the idea that virtue and moral worth were not reflected in wealth (2004: 70).

But in about the middle of the eighteenth century, argues de Botton (2004: 75-76), some hopeful meritocratic ideas began to take root and to dismantle these beliefs and thus to erode our collective appraisal of poverty. And, more sinisterly, supply and demand were switched. Rather than considering the role of the poor a necessary evil, fatefully bestowed, their position came to be described as dependent on the whims of the rich. Without demand, their labour would be for naught. Thinkers as forceful as David Hume and Adam Smith helped to redefine who depended on whom (2004: 76-78):

Hume loving, Edinburgh

Hume loving, Edinburgh

‘In a nation where there is no demand for superfluities, men sink into indolence, lose all enjoyment of life, and are useless to the public, which cannot maintain or support its fleets and armies.’ (David Hume, 1752).

Portrait gallery

National Portrait Gallery, Edinburgh

‘In spite of their natural selfishness and rapacity, though they mean only their own convenience, though the sole end which they propose from the labours of all the thousands whom they employ be the gratification of their own vain and insatiable desires, the rich divide with the poor the produce of all their improvements. They are led by an invisible hand to make nearly the same distribution of the necessities of life, which would have been made, had the earth been divided into equal portions among all its inhabitants, and thus, without intending it, without knowing it, advance the interest of society, and afford means to the multiplication of the species.’ (Adam Smith, 1776).

Adam Smith, Edinburgh

Adam Smith, Edinburgh

Charity became a burden; the poor became a nuisance (2004: 78). Coupled with progressive ideas that every individual ought to be rewarded according to his or her abilities and achievements, the modern attitude to poverty is one of disdain. For the flipside of meritocracy is that those who do not excel deserve the hardships and stigma that they have thus earned. It seems a regrettable but inevitable price to pay. Since one ought to be able to improve one’s position, failure to do so has come to imply moral failure in a way it did not in the past (2004: 87). De Botton (p. 85) explains, ‘An increasing faith in a reliable connection between merit and worldly position in turn endowed money with a new moral quality.’ And, worse: ‘To the injury of poverty, a meritocratic system now added the insult of shame’ (2004: 91).

De Botton goes on to explore antidotes to this new state of affairs, a string of themes that reads like my biography: Christianity, Politics, Philosophy, Art and Bohemia. Perhaps my attraction to these things has lessened my own regard for money and for the esteem that comes hand in hand with it. At heart, his message is to seek value elsewhere; define worth on your own terms, as many have before. Build, adopt or steal an unshakable moral code so that in dark times you can measure your life and your own worth against this and not money; so that you can respect yourself and stay focused on your life’s work. Perhaps that confidence and determination is enough win the respect of those who doubt you.

Love Newcastle

 

 

 

 

 

 

 

 

 

 

 

 

De Botton, Alain. 2004. Status anxiety. Hamish Hamilton: London.

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Art as scholarship: towards an artistic methodology

Picnic for one (c) Samantha Groenestyn (oil on linen)

Picnic for one © Samantha Groenestyn (oil on linen)

The world of art is more than a little unnerving. Something like a manifestation of Alice’s fantasy world, in which ‘everything would be nonsense. Nothing would be what it is because everything would be what it isn’t. And contrary-wise; what it is, it wouldn’t be, and what it wouldn’t be, it would. You see?’ The Wonderland in which ‘art is anything that you can get away with’ leaves me, at least, whimpering with Alice, ‘it would be so nice if something would make sense for a change.’

Many of my peers are quantum physicists, and it is among such erudite and clear-thinking company that I find myself most at ease and most understood. Science, after centuries of academic rigour, is systematic in its innovation. It builds upon previous knowledge, lets go of what proves false, and only accepts work of a high standard that respects the tradition. I’m thoroughly convinced that artists should look to our scientist friends for methodological guidance as an antidote to our proudly irrational domain. Such an idea is supported by Galenson in his excellent book Old masters and young geniuses, in which he draws attention to certain parallels between the career of the artist and that of the scholar.

UNewcastle

Newcastle University

The shape of the artistic career and that of the scientific career have much in common. Galenson, an economist by training, has taken time to observe the lifecycles of successful artists over the last century and has turned up the following unsurprising but little-discussed commonalities. ‘At the graduate level, most important scholars have worked with a teacher who is himself an important contributor to the discipline. The same is true for artists’ (2006: 18). He continues, ‘Similarly, just as at an early stage of their careers most successful scholars have studied and worked closely with other promising scholars of their own generation, virtually all successful modern artists have initially developed their art in the company of other talented young artists.’

It sounds simple, but it is an observation worth taking note of. Where our scientist peers are working together in small clusters of post-doctoral researchers and PhD candidates, under the guidance of an established and tenured professor and with the resources to make global collaborations and attend international conferences, artists are ejected from scholarly life and instead set up shop alone in a private studio. Perhaps the opportunity to take up a shared studio space encourages nurturing interactions, but the painfully obvious scarcity of resources remains as artists must compete against each other for piecemeal funding in the form of prizes while paying for their own workspace and tools. Nevertheless, knowing that keeping good company is a significant factor in a successful career, the solitary artist might seek the company of other similarly attuned minds of other disciplines. Just as Goethe ‘associated by preference with medical men and attended medical lectures’ (Kollwitz, p. 80), we might find stimulating peers amongst our more structurally grounded scientific contemporaries.

My new garden studio in Newcastle upon Tyne

New garden studio in Newcastle upon Tyne

Such science-art intermingling may turn up more fundamental similarities. Our diverging methods have a common cause: the impulse to grapple with the physical world and to understand it by imposing order. The artist imposes a visual order on the world; the scientist a more abstract and calculable one. Without suggesting that art is a science, for I do not believe it to be, I want to make a case for art being another form of scholarship. Historically, our work shares many common traits, as George Kubler observed in his book The shape of time (1962; in Galenson, 2006: 17)—not least the pattern of ‘invention, change and obsolescence.’ Science and art are at their cores innovative careers, not merely geared towards presenting polished, new solutions to the world at large, but more fundamentally through identifying and posing relevant problems. The physical world is full of mystery, and we multiply our understanding and reverence of it through finding better ways to humbly question it.

So argues Galenson (p. 17), and, further, he argues that our innovative goals are not market driven but aim instead at ‘creat[ing] new methods and results that change the work of other practitioners’ (my emphasis). ‘We understand,’ he writes (p. 18) ‘that in the first instance nearly all important scholarship is produced for an audience of other scholars.’ No quantum physicist works for the ludicrous goal of pleasing the curious but scientifically-challenged public, commodifying the results of their investigations for general consumption. He does not bend to the arbitrary tastes of a cashed-up audience. And this is no high-minded snobbery or elitism. Scientists are simply highly-trained specialists, and, for the most part, regarded as such. We non-scientists accept broader, simpler explanations from them, and rely on their expert judgements within their field.

SONY DSC

The artist might follow this cue and recognise that the most significant art will not be market-driven, gallery-selected, or critically-determined work, for the real experts in this field are none other than our colleagues–other artists. We might accept commissions that pay our bills, or take part in shows that ostensibly raise our credibility, or even intentionally make art that is ‘for the people,’ with accessibility as our main motivator. But I would contend that in so doing, we hazard limiting our artistic potential. Chamfort (in de Botton 2004: 125) acidly observes, ‘Public opinion is the worst of all opinions. … One can be certain that every generally held idea, every received notion will be an idiocy, because it has been able to appeal to a majority.’ Were we to consider ourselves true scholars, we might let these distractions fall away and focus on the more pressing task of contributing something of lasting import to the body of human knowledge. Rather than setting ourselves up as obscurantist elitists, we might simply recognise that we, too, are specialists of a practical variety. Further, we have a duty to the public to be discerning about the quality of art, since those not so well-versed in visual languages are looking to us for guidance.

Art has many purposes—as Gombrich (1972 [1950]: 13) describes, ‘Most of the paintings and statues which are now strung up along the walls of our museums and galleries were not meant to be displayed as Art. They were made for a definite occasion and a definite purpose which were in the artist’s mind when he set to work.’ But while art may be used spiritually, decoratively, financially and communicatively, it is an appealing idea that in the modern scholarly realm art may also be produced as a visual form of research. Robert Nelson (2009: 121) discusses the extent to which art may be considered research ‘because it is concerned with innovation.’ Perhaps our most honest inquisitive efforts will attract fame and fortune, but more soberly, perhaps they will bring order to the chaos, with art functioning as another branch of respectable scholarly investigation.

 

De Botton, Alain. 2004. Status anxiety. Hamish Hamilton: London.

Galenson, David W. 2006. Old masters and young geniuses: The two life cycles of artistic creativity. Princeton University: Princeton, NJ.

Gombrich, E. H. 1972 [1950]. The story of art. Twelfth ed. Phaidon: Oxford.

Kollwitz, Käthe. 1988. The diary and letters of Käthe Kollwitz. Northwestern University Press.

Nelson, Robert. 2009. The jealousy of ideas: Research methods in the creative arts. Ellikon: Fitzroy, Victoria.

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Visions

Art show

I was delighted to see Amanda Sage talk about her work at a homey vegan café on Neubaugasse last week. With strong connections to Vienna, Sage is a self-professed ‘visionary artist,’ which seems to mean something to do with new-age spiritualism, distinct from the rather more plain notion of having an artistic vision. And yet, there might be a closer connection between these ‘visions’ than I first imagined.

Life drawing

Sage’s rainbow-infused work, in spite of the multicolour cacophony, is very unified and seems to draw much of its stability from symmetry. Perhaps most dazzling is her flawless use of parallel lines that undulate across the surface, rainbow interference patterns that create buzzing optical illusions but don’t undermine the image. There’s a real crispness and clarity without any inch of the surface being plain or uninteresting. And her brand of vision seems very hidden and mysterious—her recurring symbols of rainbow serpents and eggs are part of a personal mysticism that seems to be divulged to her in her dreams.

Life drawing

Sage talked through her influences, her travels in Bali, her Viennese teachers (legendary in the visionary art realm—Ernst Fuchs and his son Michael Fuchs), her early apprenticeship. During this time, she worked alongside them on their paintings and cathedral projects, but at the end of her apprenticeship she painted her own masterpiece, to which she was finally able to sign her own name. We were treated to an image of this piece and I was absolutely charmed by it: a reflective orb in an otherwise quite ordinary still life—very literal, yet rather surreal. And then she spoke beautifully about the period after Fuchs ‘kicked her out on her own’ and her difficult struggle to move away from such representation and to attempt to ‘paint from her visions.’ She humbly showed an early painting that she was on the verge of destroying in utter despair and frustration, which she took to her old master for guidance. ‘This painting is sick!’ he told her. ‘You’re not listening to the painting.’

Life drawing

This phase in a painter’s life is very important and difficult. In many ways, we will always be students, if we are open-minded enough, and willing to learn from those who cross our paths. There is ever more to see in the grand galleries of the world, ever more to be in awe of. But there is a point at which you close the book on painting apples and wine bottles on a rippling sea of drapery under a steady spotlight, and you search out your visions—whether you listen to your dreams, or mine our cultural heritage, or attempt to tell modern stories. This is the time when we step up and struggle with something much harder than technical proficiency, though it certainly tests our technical proficiency. We see if what we have learned holds up to our artistic aspirations as we try to uncover something meaningful to say. It was very moving to hear Amanda talk about this struggle, and to realise that in this respect, we must all be ‘visionary’ artists. I’m reminded of Delacroix being renewed by Dante. We must all find our source.

Life drawing

When the egg came to her in a dream, Sage knew she’d found something important, and many of her paintings since have either incorporated an egg or been completely encapsulated in an egg, her ‘safe space,’ a safe compositional framework, in which she can allow the painting to unfurl. The egg, pregnant with symbolism, also offers her a guaranteed harmony.

Life drawing

The work which undeniably left the deepest impression on me was Ana Suromai, the ‘lifting of the skirts,’ a ceremony that she says every culture has a rendition of. When women have had enough, they lift their skirts, and this act has the power to stop armies and fend off demons. Sage (for it is a self-portrait) lifts her skirt to war and destructive consumerism and the table of power. Yet dissatisfied at making such a provocative painting, such a negative painting, she questioned herself as to why she would paint such a piece. She agonised over it for five or six years. But at last the egg emerged, bursting electric from her vagina, such a beautiful and feminine symbol of rebirth and hope.

Alice little girl

This image struck me at such an important time. I’ll admit I’ve been wallowing in Alice in Wonderland, both the Disney animation and a German translation of Lewis Carroll, and loving that Alice is no sexualised princess caught up in a love story but simply a thoughtful girl trying to grapple with a nonsensical world through sheer logic and manners. While sometimes it can feel like having lady-parts is a magnet for unsolicited attention and false kindness, it came as a shock to think of them as a source of power. ‘Is this what you want? Here it is!’ A strength, rather than a weakness.

So thank you, Amanda Sage. It helps. And it helps to think so crisply and clearly in terms of painting from our visions.

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Peace and love, and capitalism

Life drawing

I’ve had some acquaintance with the Vienna Academy of Visionary Art through their open life drawing sessions twice a week during term, so I was happy to hop along to their end of year show and celebrate the conclusion of their first year with them. The Academy’s teaching faculty come from all over the world, even as far as Melbourne, and many of them were taught in turn by the Viennese Ernst Fuchs, whom they all hold in very high esteem. The small cohort of seven students are all from the US and Canada.

The school itself, on a workday, is light and airy, rocking new age beats, and generally exuding a peaceful calm. Shoes are often shed, and herbal teas steam alongside palettes. Each painting station is beside a window, a bright little hub without a place for a still life, because the students here admirably work from imagination. There is a strong emphasis on traditional techniques, and many works are done in the so-called ‘Mischtechnik,’ layering oil, egg tempera and varnishes. Paintings are built up from raw umber underpaintings through a series of glazes, and in the life drawing session students are encouraged to work into mid-toned paper with a dark and a white chalk or pencil preparation for such painting.

Life drawing

Principal instructor Laurence Caruana’s speech on the opening night expressed despondency with the commercialism that has crept into and strangled art over the last four centuries. The vision of this Academy is to salvage some human dignity in art, and it seeks to do this through (in Laurence’s words) ‘a return to the sacred in art.’ What this might mean in a modern, largely secular world is perhaps contestable, but a heavy dose of mysticism certainly comes as part of the package. And indiscriminately so: Paleolithic, Neolithic, and tribal goddesses are explored as part of the curriculum, as is Egyptian, Mesopotamian and Minoan art, barging right on through Islam, Hinduism and Buddhism. And I’ve perused but one of Laurence’s books sitting by the altar in the teaching room, a novel based on his investigations into the Gnostic Christ.

Now, I know very little about mysticism other than garden-variety Christianity, but it seems you are welcome here to choose your poison, or concoct your own special blend. This desperate grasping after something, anything, spiritual feels strangely backward-looking, a denial of our collective growth and expanding and ever-refined knowledge over the last few centuries. I can’t help but think that a modern ‘sacred’ art ought to shed its gods and evolve into a humanist art, perhaps aligned with philosophy and science. Fractals, anyone? Conformal symmetry is pretty mind-blowing!

Life drawing

I have had some good conversations with students at the Academy about such things as symmetry and composition. When I questioned them about their penchant for symmetry, I was told that it is a calming, grounding compositional strategy: the balance in the image quiets the viewer to a state of steadiness, giving them a clear focal point from which to furtively explore other parts of the canvas. I’m reminded of the strength and simplicity of a radial composition, which may be built of quite complex elements, and wonder if this hypnotic simplification isn’t aiming too low. Then again, perhaps our collective visual literacy is so deplorable that we really do need such obvious cues to find our way around a still image.

Objects from the altar may be used for still lives, which seems to emphasise this somewhat Mischtechnik-mysticism over technical clarity—I try to fathom learning properties of light with the aid of pinecones and crystals instead of the humble spheres and eggs I drew repeatedly until I understood. Students of the Visionary Academy are certainly not in danger of lapsing into lustreless careers as painters of technically proficient but dull still lives and studio nudes, or forgetting that they are learning skills in order to produce art. At every step of the learning process, the Visionary student bears in mind their mystical vision—even the life drawing poses are modelled on famous mystically-oriented paintings or incorporate mythic weaponry props. The ambitiousness of this undertaking shows: the students all exhibited their major piece for the term as ‘works in progress.’ To some extent, I think it is admirable that they keep their vision ever at the forefront, but it also seems to obscure some valuable learning opportunities. I am deeply saddened at the way students are left to languish in the life class, critiqued and yet unassisted by their teacher, until they plead illness and head out in search of herbal teas. And when there is so much to be learned from the figure!

Life drawing

Perhaps most sadly of all, this spiritual quest does not seem to wrench art back from the clutches of Mammon. For unlike shows at large private galleries such as Philip Bacon in Brisbane, where money flows in the tens of thousands and the fine champagne flows just as freely—the lubricant of capital—but no one ever talks about the digits, one topic overshadowed all others on the Visionary Academy’s opening night: money. A student gave a public plea (not her first) in the opening speeches that left me squeamish, drawing our attention to all the money-giving opportunities available that night: that many paintings were for sale, that her own work was especially for sale in a silent auction format, that many small works were available at a ‘pay what you want’ table. After the formalities, we slipped to the bar for a little refreshment and were charged more than we would be at a restaurant per glass, a policy I’d never yet seen in place at an art show. Now that the term is over, the Academy is doggedly cross-posting in all the Vienna life drawing groups, trying to rent out studio space and accommodation over the summer. And all the while, it’s hard to silence that little thought at the back of one’s mind that a year at this Academy will set you back a not-so-trivial €9900. Peace and love, and capitalism, brothers and sisters. It’s the modern world, whatever mysticism you drape it in.

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The graduate exhibition runs until June 28th 2014 at the Palais Palffy on Josefsplatz, Wien.

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