Archive for the ‘Literature’ Category

I’m in a state of perpetual freehand

Please help.

The black dog is yapping at the door to my sleeping bag, and he won’t go away.

You must know what this feels like, lest you forget the rambling man in gin-sodden overalls that would tap-tap-tap on the mirror of my tutu, late at night, begging for harmony.

I could never offer harmony, only my perpetual freehand.  My pneumatic drill of a hand, with rampant energy and an overture of half-baked desires.  You’d take it up anyway, even though you knew it would leave you feeling lemony-fresh.

Well, my perpetual freehand is perpetually free again. Twitching.

If only I could ram a screw into it, pin it to a piece of wood, but I hear this has been done by another fairly recently and a fat lot of good it did him.  My other hand is pretty useless anyway, doesn’t have a poker face, would never get it in in-time.

Yapping in the alley and kicking bins over in frustration, red eyes bulging and a permafrost clinging to its huge hanging balls.  Disdainful creature.  Black dog, back-yard dog. It doesn’t just wait, but revels in the constancy of madness.  Once your mad, your always mad.  You can try the glove on, to see if it fits and then you find its a chinese puzzle, the more you pull the tighter it gets.

I wish my hand was permafrost but its always hot. My red right hand. My filtching, feltching godhand.  Hurling thunderbolts into the arses of well composed daydreams.

I’ll wail into the bag and wait to see if I answer.  That way I’ll know if it’s real or not.

Written by Andy

April 5th, 2010 at 8:56 pm

Wrestling and Painting- Barthes ‘mythologies’

Roland Barthes’ ‘Mythologies’ is a seminal text on Semiology. It is a lucid, profound and insightful deconstruction of the manner in which Western society prostitutes itself through veils and constructions of signs, signals and symbols. Seemingly disparate subjects are discussed, from ‘Toys’, through ‘Striptease’ and ‘The Writer on Holiday’ to ‘The Great family of man.’

I have recently been working on a series of drawings, photographs and performances all of which take wrestling as their subject. Barthes discussion of this subject has articulated elements which drew me to wrestling, opened up realisations of its further potential and ultimately revealed its capability to be the ideal painterly subject.


“The virtue of all-in wrestling is that it is the spectacle of excess. Here we find a grandiloquence which must have been that of ancient theatres.”

The debauched theatrics, ‘the spectacle of excess’, are the crux of wrestling’s initial appeal to the painter. The pomposity and bombastic nature of wrestling’s linguistics place it firmly under the stylistic, rather than historical, umbrella of the Baroque. It’s the timelessness of Wrestling which makes it such an a[appropriate symbol, Read the rest of this entry »

Written by Tom

May 4th, 2009 at 6:15 pm

Shamans as Psychoanalysts - Claude Levi-Strauss

The cure would consist, therefore, in making explicit a situation originally existing on the emotional level and in rendering acceptable to the mind pains which the body refuses to tolerate.  That the mythology of the shaman does not correspond to an objective reality does not matter.  The sick woman believes in the myth and belongs to a society which believes in it.  The tutelary spirits and malevolent spirits, the supernatural monsters and magical animals, are all part of a coherent system on which the native conception of the universe is founded. The sick woman accepts these mythical beings or, more accurately, she has never questioned their existence.  What she does not accept are the incoherent and arbitrary pains, which are an alien element in her system but which the shaman, calling upon the myth. will re-integrate within a whole where everything is meaningful.

Once the sick woman understands, however, she does more than resign herself; she gets well.  But no such thing happens to our sick when the causes of their diseases have been explained to them in terms of secretions, germs, or viruses.  We shall perhaps be accused of paradox if we answer that the reason lies in the fact that microbes exist and monsters do not.  And yet, the relationship between germ and disease is external to the mind of the patient, for it is a cause-and-effect relationship; whereas the relationship between monster and disease is internal to his mind, whether conscious or unconscious: It is a relationship between symbol and thing symbolized, or, to use the terminology of linguists, between sign and meaning.  The shaman provides the sick woman with a language, by means of which unexpressed, and otherwise inexpressible, psychic states can be immediately expressed.  And it is the transition to this verbal expression - at the same time making it possible to undergo in an ordered and intelligible form a real experience that would otherwise be chaotic and inexpressible - which induces the release of the physiological process, that is, the reorganization, in a favorable direction, of the process to which the sick woman is subjected.

In this respect, the shamanic cure lies on the borderline between our contemporary physical medicine and such psychological therapies as psychoanalysis.  Its originality stems from the application to an organic condition of a method related to psychotherapy.  How is this possible?  A closer comparison between shamanism and psychoanalysis - which in our view implies no slight to psychoanalysis - will enable us to clarify this point.

In both cases the purpose is to bring to a conscious level conflicts and resistances which have remained unconscious, owing either to their repression by other psychological forces or - in the case of childbirth - to their own specific nature, which is not psychic but organic or even simply mechanical.  In both cases also, the conflicts and resistances are resolved, not because of the knowledge, real or alleged, which the sick woman progressively acquires of them, but because this knowledge makes possible a specific experience, in the course of which conflicts materialize in order and on a level permitting their free development and leading to their resolution.  This vital experience is called abreaction in psychoanalysis.  We know that its precondition is the unprovoked intervention of the analyst, who appears in the conflicts of the patient through a double transference mechanism, as flesh-and-blood protagonist and in relation to whom the patient can restore and clarify an initial situation which has remained unexpressed or unformulated.

All these characteristics can be found in the shamanic cure.  Here, too, it is a matter of provoking an experience; as this experience becomes structured, regulatory mechanisms beyond the subjects control are spontaneously set in motion and lead to an orderly functioning.  The shaman plays the same dual role as the psychoanalyst.  A prerequisite role - that of listener for the psychoanalyst and of orator for the shaman - establishes a direct relationship with the patients conscious and an indirect relationship with his unconscious.  This is the function of the incantation proper.  But the shaman does more than utter the incantation; he is its hero, for it is he who, at the head of a supernatural battalion of spirits, penetrates the endangered organs and frees the captive soul.  In this way, like the psychoanalyst, becomes the object of transference and, through the representations induced in the patients mind, the real protagonist of the conflict which the latter experiences on the border between the physical world and the psychic world.  The patient suffering from neurosis eliminates an individual myth by facing a”real” psychoanalyst; the native woman in childbed overcomes a true organic disorder by identifying with a “mythically transmuted” shaman.

This parallelism does not exclude certain differences, which are not surprising if we note the character - psychological in one case and organic in the other - of the ailment to be cured.  Actually the shamanic cure seems to be the exact counterpart to the psychoanalytic cure, but with an inversion of all the elements.  Both cures aim at inducing an experience, and both succeed by recreating a myth which the patient has to live or relive.  But in one case, the patient constructs an individual myth with elements drawn from his past; in the other case, the patient receives from the outside a social myth which does not correspond to a former personal state.  To prepare for the abreaction, which then becomes an “adreaction,” the psychoanalyst listens whereas the shaman speaks. (Claude Levi-Strauss, Structural Anthropology, volume 1, basic books, inc., 1963.)

I want to enlarge upon what Levi-Strauss has written here.  But it is important to understand that I am not coming from a scientific perspective but from a creative/artistic one.  I imagine the beginning, when both cultures - I’ll describe them as the Shamanic and the Analytic - had a common ancestor; this we can understand in both a metaphoric and literal sense, to be a child, for I am going to relate to how a shamanic culture could conceivably grow out of childhood mechanisms for understanding and survival - this it is important to note is not a suggestion that the shamanic culture is more primitive than the analytic but is simply an attempt to verbalise a hypothesis on the mechanisms of shamanism from the point of view of someone raised within an analytic culture - which opens up the debate on the importance of the the individuals isolated experience.  The child first begins to understand the world around him by developing a sense of good and bad, in this world monsters are real, which helps the child to define an understanding of bad.  The fact that monsters are real tangible beings means that they can be categorized and unltimately defeated, allowing the child to accept and deal with living in a world full of uncertainty.  If we accept this as an innate evolutionary device that has remained because it is essential somehow to our survival, then we can assume the two cultures of adulthood are borne out of this, refined and developed in different ways that result in answers that are acceptable to each culture.  The development into adulthood involves the continuing categorization of unknowns into compartments that can be neatly titled and shelved away, yet this maturation process necessitates the negation of factors that can’t be neatly shelved under specific compartments, resulting in a limited understanding.  From the analytic perspective it has resulted in an understanding of outside factors upon health, such as germs, viruses etc but has somewhat limited the effectiveness of internal mechanisms to dictate health and healing properties.  In the shamanic culture, whether consciously or not, there has been a more conserted study into the effects of mind upon health, by rendering the unknown maladies that we would understand as bacterial, or viral infection as real monsters, the shaman categorizes the illness, making it real and thus susceptable to defeat itself.  This, performance based realising of the beast coupled with knowledge of local medicinal herbs has resulted in the shamanic tradition surviving for millenia often with a decent success rate of healing.  Indeed it raises the issue that, if an individual or culture believes in the reality of something does this not make it a reality by the sheer fact that they believe it, an individual only exists within the confines of he or she has experienced previously.

Written by Andy

April 6th, 2009 at 3:52 pm

Tom de Freston-Daily notes

Tom de Freston- diary entry

I purchased a  tube of Acrylic Vermillion today, having fallen in love with a tiny tube of Goache Vermillion that I had in a multiset. Its like Cadmium red, but better. Its got such a vibrant, luminous glow. It seems to have a particular potency when applied reasonably thinly, so that the light can work its way through. I can only imagine how sublime Michael Hardings ‘Chinese Vermillion- oil’ must be. Its bloody £80 for a small pot.

Read the rest of this entry »

Written by Tom

March 16th, 2009 at 6:13 pm

Posted in Diary entry, Literature

The Lovers Discourse- a reply to Barthes

‘A Lovers Discourse- a reply’

This is a reply to Roland Barthes ‘A Lover’s Discourse’. The original text sees Barthes writing about a single figure and the nature of their internal discourse caused by the ‘other’. The protagonist is sometimes present, sometimes absent, sometimes imagined.

The book is not organised in a linear narrative or in some form of philosophical hierarchy which moves clearly through varies levels of thought. Instead it is disjointed musings, displayed as fragments, on the condition in question. The fragments are organised alphabetically to provide a structure which does not turn the text into a singular doctrine.

The further I reached into the book the more I realised that numerous threads seem, to me anyway, to link into concerns in some of my paintings; these being predominantly desire and the single male figure and its relation to a female protagonist.

It feels important to try and make sense of the thoughts that emerged from the text. These vary from direct analyse of specific ideas to the development of an idea which derived as a tangent of reading the book but which has, perhaps, broken totally from the book as a source.

At this point I feel that the thoughts would be restricted if I either worked through them chronologically (as they came about within the book) or into some thematically (as this could limit the scope of them to what I think, in a preconceived manner, they are about.) So it seems logical to mirror Barthes. To take the fragments which have emerged as a deconstruction and reaction to the text and to reorder them alphabetically, under titles which loosely summarise the theme/content of the particular thought. Read the rest of this entry »

Written by Tom

December 22nd, 2008 at 11:09 pm

Lucy Cavendish College, symposium

Lucy Cavendish College, Cambridge University invited a series of contemporary painters to give lectures on the role of the human figure in their work. The following is my notes for my lecture.

Why I paint the human figure.NB The following is merely notes written in preparation for the talk, it therefore has a fairly loose and conversational feel in the writing.

Read the rest of this entry »

W.H. Auden- a piece about tragedy

 A poem that was recently brought to my attention…

Muséé des Beaux Arts
About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.
In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.

W.H. Auden

Written by Tom

September 29th, 2008 at 3:23 pm

The single figure

The single figure always refers to another, whether that other is absent or present. The figures desire, actions are defined by this other.

 This does not necessarily root painting in narrative, although it does imply a causal link between the central character and other facets.

Such a link can be establish on the grounds of a justification which exists outside of the linear nature of literay time. The panic, the state, the impact can be a permanent condition brought on by the other. It need no be the direct effect resulting from a previous cause. The two are symbiotic rather than intrinsically linked in a historic hierachy.

The protagonist, I am suggesting, need not precede the victim. There states can both exist in the eternal now, the moment of flux, which the painting deals with.

On another note, we need no depict the protagonist. We only need focus on the ‘victim.’ The protagonists prescence or existence can be suggested by an unseen ofstage prescence. Hints of exists or doorways can potentially imply this.

Written by Tom

September 5th, 2008 at 11:04 pm

Exhibition catalogue- Kapellmeister Pulls A Doozy.

Exhibition catalogue- Kapellmeister Pulls A Doozy.

Mary sat perplexed, “why, where, when? The solution seems incommunicable. Hmm, is there even a solution?” The people whizz by my window, their faces fuzzy, like dots on one of those old analogue TV’s, can’t seem to focus, can’t see who they are or what they’re thinking. I can’t even see their eye’s, why am I asking myself this?

The sun has moved inexorably along its path and can now be seen glowing, or is that glowering, through my window? Mary was writing something in a pad, on a desk. The day started in a strange mood, the sun appeared to glower through the gap in his curtains as he chewed, deep in thought, on the end of a pencil.Yep, it was definitely glowering. Her scrawl was mesmerising, the type of handwriting they only had in the old days. You don’t see that type of writing these days. People just don’t take the time to practice anymore. Mary screwed up the piece of paper and threw it on the floor, it landed neatly next to another ball of paper and quickly made friends. Read the rest of this entry »

Written by Andy

September 1st, 2008 at 7:54 pm

Tragedy

Tragedy is not singular. Each artform has its own form of tragedy, as does life itself. Lifes tragedy is obvious, the inevitability of death as a consequence of birth.

Narrative, literary, tragedy is the closest to this. Moving through time and space it necessitates plot. The tragedy in narrative is always tied up in cause and effect. What will happen is an inevitable consequence of what is happening, the end is defined by the start.

Photographic tragedy is different. The photograph is about a moment in reality which had been. Its static nature only focus our attention on the inevitable death of the moment recorded. It is not held in eternity but killed and embalmed. Photography is never about idealism but the depressing realism, the shadow of reality. Its oppositions are tragic reminders of lifes tragic transcience. Read the rest of this entry »