POST #181: CREATING LIFE

Whenever I create “life”, my goal is to get my subject to talk to me. Like Donatello’s Renaissance statue of Il Zuccone, I want it to speak. My late husband, a clinical psychologist, used to call it my “only child syndrome.”  I’m not painting a person; I’m creating a person, a playmate, a companion. My studio and my attic are currently filled with cut-out characters. I occasionally work from photographs that I or someone else has taken, but only as a starting point; most of the time I am totally surprised at who turns up. I never idealize people; I want them raw and rugged, the way they are in real life: lumps, bumps and all. I draw upon decades of sketching at Government Center meetings, or Breakfast at Curley’s; it’s like I have a giant photo album in my head that keeps spilling out images. Recently, I’ve learned how to use my iPhone to take photos without my victim realizing his image was being captured. I pretend I’m talking on the phone or looking at something behind them, lest they think I’m invading their privacy.

Most of my figurative work, because it is so true to life, is controversial. Am I making fun of people of different races, ages, ethnicities? Satire, nowadays, is a touchy subject. At what point does gentle humor transcend into racist insult? I have to be very careful where I show my work and hope that no misreads my intent. A few years ago, the local Downtown Council asked me to put my life size “real women” paper dolls in a storefront window but then they panicked at my pregnant teenage bride. Was she Latina? Would someone be insulted? I thought she was adorable and apparently so did the hundreds of people who walked by that weekend. The only objection came from a tormented soul who threw a cup of coffee at the window claiming I was making fun of fat people. When the dolls were exhibited in a gallery in New Britain recently, I was asked to give a talk about the work. Would someone accuse me of political incorrectness? Fortunately, the audience, a dozen women of mixed ages, races, sizes got my point. They understood the affection behind my satire.

Over the years, I have created a half dozen series of paper dolls on different topics, some exhibitable, some not. The one I’ve never shown publicly is my Mens Bathhouse series. You need a strong stomach for that one. It’s based on the observation that nudity is not what it’s cracked up to be and most people avoid it for a good reason. The dolls are 24” high cut outs of the kind of men you see at zoning board meetings: well-dressed thugs. It’s my way of getting back at them for all the damage they have done to my beloved city. They are ugly inside and out and only a George Grosz could really do justice to them. I do my best.

The most powerful series I ever did was of local gangsters – 8’ high cardboard figures meant to be held up so the carrier’s legs were the legs of the puppet. They are crying out for a script by Brecht, but he’s not available and I don’t know anyone else who can do it. They can also be displayed on tripod wood stands, lit so they cast giant terrifying shadows. I wish I knew of a gallery big enough accommodate them; it would need 20’ ceilings.

Goddess of the New Popular Restaurant.  Oil on canvas. 62”x 48”

Meanwhile, my characters live mainly in my attic. God only knows what goes on there at night when I’m not around!

Glad to be back,

Renee Kahn

POST #180: Apollonian vs Dionysian

The philosopher Nietzsche was the first to write about the presence in our lives of powerful forces that he referred to as Apollonian or Dionysian, referring to the Greek god Apollo who represents order, reason and beauty, as opposed to the Dionysian, our wilder selves represented by Dionysus, the god of wine. Dionysus creates chaos, madness, sexual depravity and drunkenness and is usually expressed by wild, licentious music and dance. It’s like a carefully organized Bach fugue versus an orgiastic Woodstock performance to a spaced-out audience. Nietzsche saw the need for both elements in a life well lived: the rule of law and rational thinking balanced by the need to let loose and have a damned good time.  In the healthy, well-adjusted person, both stay in balance; it’s when one element predominates and drives out the other that trouble ensues.  Artists tend – at least in the current art scene - to be more Dionysian than Apollonian. But given the unpredictable world we live in and our often irrational “supreme leader” it’s no surprise that most contemporary art has an air of hysteria about it: over-sized, over-pigmented and over-dramatic. How can an artist possibly be Apollonian in this crazy, irrational world?

In the next week or two I’m planning to conduct a design workshop for a few artist/photographer friends. Our topic is something we used to refer to in art school as the “Principles of Design.” I intend to talk about timeless verities such as balance, harmony, focal point, rhythm, and relationship of forms, all the qualities required to create a harmonious (Apollonian?) work of art. But what if there is no such thing any more? Why should there be harmony in art when it doesn’t exist anywhere else in the world?  Maybe the chaos of contemporary life requires a whole new set of Unprincipled Principles of Design and I’m just wasting everyone’s time teaching order and rules. Maybe I should just pass the mescaline and let everyone be his or her inner Dionysian selves?

P.S. in my pre adolescence, I used to be a Duncan dancer, a disciple of Isadora Duncan, a passionate Dionysian if there ever was one. We danced in flowing scarves and Grecian togas with wreaths of flowers I’m out hair. A sight to behold!
R.K.