Michaël Borremans’ “As Sweet as It Gets” is darkly delicious – Part 2

The Artist Conversation (please see Part 1 for insights on the Borremans exhibit)

 

After savoring the exhibit, “As Sweet as It Gets” by Michaël Borremans at the Dallas Museum of Art, I walked, passing a lively concert in the dining area of the museum, to an auditorium for the Artist Conversation. After introductions were made, Borremans and curator, Dr. Jeffrey Grove, launched into several interesting topics. First, the artist mentioned how important titles are to his work. Usually I think of titling the work upon completion, but the language describing an idea is something Borremans thinks about earlier in the process. Sometimes, he explained, he titles the work before producing the piece (which may be more like titling an idea), sometimes during, and sometimes after. Choosing language to attach to a visual image is an important part of Borremans’ process and contributes to his perspective on his job as an artist, “Making art is a form of communication. It is a dialogue.” While his work tends to lack complete answers, the text he uses in titles offers hints of insight, nudging us along as we try to understand.

Throughout the conversation, he expressed an awareness of the impact his art has on audiences, how his work is perceived, and what ideas are communicated. “As an artist,” he stated, “I should always be critical of what I am doing.” Furthermore, and in a departure from many contemporary artists, Borremans stated that an artist must be careful about the art he puts in public places; he does not want his work to disturb people. I found this remark to be especially insightful a few minutes later as he discussed how he hopes people will perceive his work – he strives for a balance between beautiful and dark and wants people to see both, not just one or the other. “I want to make a painting that is just as beautiful as it is violent…I want that contradiction.” Sometimes the work is more beautiful than violent… And sometimes it is more violent than beautiful…

But usually, he strikes a perfect balance…

As I often feel overwhelmed with pervasive media sources in modern life, I was especially grateful to hear the artist express frustration with the abundance of imagery that assaults our eyes, ears and minds. He explicitly recommended we take responsibility for what we let in and be critical of what we allow in our minds. This is a point people either wholeheartedly understand or flat out don’t. I don’t read gossip magazines or give them to my children…there are too many incredible things to fill our minds – a movie star’s failed tummy tuck simply does not have a place on my radar. “Pick and choose purposefully, and simplify,” Borremans advised.

When discussing the use of technology compared to traditional methods in art making, he stated, “Painting is very basic. It is a tool, like a hammer. We will always use it.” When considering other mediums that interest him, he continues to gravitate toward painting. “You can create a window on another world, a world you cannot enter. You can’t do this with sculpture. Sculpture is in our space, our world.” Though Borremans does work with sculpture, it is not something he feels ready to show. It is as if sculpture is a studio tool he uses to dig deeper into his painting and drawing ideas. For example, he explained the painting, Four Fairies, 2003, was initially created to become a sculpture. Additionally, as mentioned in the previous blog entry, the artist investigates ideas using a cross medium technique over many years. “I have a very long dialogue with my drawings. I pull them out of the drawer and go back and work on them for many months, or years.” He will draw something, make a model of it, redraw it based on the new model, make a video with the model, and create a series of paintings based in the video (see the House of Opportunity series with various pieces produced from 2002 – 2013) .

Borremans made an intriguing statement about painting from nature when Dr. Grove asked about the recent appearance of animal subjects in the work. He stated once something is dead, it loses its previous meaning, identity. By not living, it becomes a different thing, an object instead of an animal. I am curious about his frequent use of dead animals and animal models (the models are in the form of figurines with a glaze sheen emphasizing their falseness). The various animals in his work cause a confusing thought process about what is real and what is fake, what is inanimate, and what is animate, and how the definitions of these terms becomes blurry.

Borremans became especially animated when he talked of a turning point that was the consequence of getting stuck in 2012. He had many ideas but could not focus or turn the ideas into work. The solution came in the form of a new workspace when a friend offered to let Borremans move his studio into a chapel. The change of space, and working alone with only a Virgin Mary figure to keep him company, provided intense focus and infused his thoughts with memories of a Catholic upbringing. He stated that in the new workspace “the holy spirit came to me.” He seemed to say this in both jest and seriousness, explaining that one never completely shakes off early and strong religious influences provided by devout Catholic parents. “It sticks with you,” he stated, “It doesn’t mean I’m a practicing Catholic but it is part of me and part of our culture and I allow it.”

I ALLOW IT. Mmm, this reminds me of his earlier comments about allowing only certain images to enter his environment and about consciously constructing the world we choose. My thoughts are tempted to dive off into a deep discussion (thought I’m not sure I’m entirely capable) on free will, hyperreality and commercialism of modern life…but I really want to stick with the exchange between Grove and Borremans.

Though he did not speak in depth about other artists, Borremans did refer to the artistic evolution of greats such as Goya, Velazquez and Rubens. “They never stopped learning, experimenting, and changing in order to continue to develop ways to communicate ideas.” The exhibit, “As Sweet as It Gets” showcases a thoughtful artist roughly midway through an evolving career and based on the evidence, I suspect it will get even sweeter. In discussing his prior career as an etching and drawing teacher and his decision to leave teaching, Borremans eloquently states, “You put everything at stake to become what you really are…I thought if I failed, at least I tried.” Thank goodness he tried.

PS Sincere thanks to Sid and Richard for your hospitality. And for anyone in the Dallas area, do yourself a favor and stop by one of the two locations of The Gem!

Next post…shifting from an established artist to an emerging artist…video clips and comments about my current body of work, now showing at Boswell Mourot Fine Art through April 2nd. Thank you for reading!

How Looking Closely at Life Provides Artistic Content…and so Much More

When working on my recent body of paintings, a common thread appeared in my thoughts and observations: closely noticing things in our lives makes me feel more grateful. Compositionally, I capture moments that seem mundane or ordinary but once more deeply observed or considered, these moments become complex and provoking and can feel like little gifts.

What I didn’t realize is how watching closely in order to find painting content would morph into something much bigger and, for me, profound. By slowing down and doing a better job of listening, looking, and acknowledging my surroundings, I not only developed imagery for artwork, but a gratefulness practice that impacts my every moment and the way I view my world. Life becomes art and art becomes life, indeed!

At risk of straying off topic, I’d like to write about a recent experience. As I list the following kind moments, they might seem unrelated to my career as an artist and to the process of painting. But here’s the thing about it: as an artist, EVERYTHING RELATES TO PROCESS. These examples are an ongoing part of developing work and ideas. I also see them as a consequence of my gratefulness practice heightened through painting.

For those who like the image of a dark, suffering and brooding artist, get ready for an annoyingly optimistic one instead. Without further adieu, here are some lovely moments I noticed on a 4 day trip to New York City.

A young man (in his 20s) on the subway who was headed to an interview downtown kindly helped me with directions and then asked all about my southern home state (my country bumpkin’ accent was an immediate giveaway).

A man at the Museum of Natural History walked up while I was in the ticket line and gave me his extra ticket.

I tried to help a woman with three suitcases get up the subway stairs but her load was too heavy for me to carry up. This brawny arm reached forward from behind me. A big dude asked if we needed help and proceeded to carry the heaviest suitcase all the way to the top.

Again on the subway, a man gave up his seat for my daughter and me during rush hour. He was then smothered in the crowd during the rest of his ride which included several more stops.

UBER UBER UBER: Friendly drivers, good prices, spotless cars, fast service.

At the Brooklyn restaurant, Talde, every staff member in the place was aware of my daughter’s seafood allergy and made extravagant efforts to provide her with plenty of safe dining options. (note – in addition to extraordinary service, the food was delicious)

We arrived at the Beacon Hotel on Broadway and the desk clerk found a room so we could check in three hours early which significantly improved our day.

Two cleaning crew guys at Grand Central Station showed us the way to the restroom and teased us about looking utterly lost there during rush hour.

A college friend whom I rarely see invited us to her swell apartment for a home cooked meal with her family.

The aforementioned friend offered to connect me with an art dealer who specializes in contemporary figure painting. Really? Yes, so very thoughtful.

The bellman at the Beacon Hotel who stored and later retrieved our luggage was friendly and helpful.

The man who showed us to our bikes at Central Park Bike Rental, pointed to my daughter and said, “Come here, shorty.” She thought it was hilarious. When we returned the bikes later, he gave us perfect directions to our next destination.

When my daughter put a dollar in a saxophonist’s tip jar in Central park, he responded, “Thank you, little lady.” I know, I know, some might say this should be expected. But he did not have to say thank you at all. And he did not have to say it with such meaning and kindness in his voice.

The doorman at a friend’s apartment enthusiastically showed us how he works the manual “lift.”

We took a break in the foyer of the New York Public Library. As we ordered cold drinks, the salesman asked my daughter a few questions and said her answers reminded him of this little girl.

When checking my daughter’s shopping bag, the security guard at The Met talked with her about her soft and fuzzy new slippers and pajamas. She could have just rushed us forward or stared coolly into the bag. I guess this exemplifies most of what is on this list: human interaction and taking the time to care and connect, even in massive crowds, even when busy, even when working hard.

Though I have known her forever, the generosity of an old dear friend and her husband never ceases to amaze and humble me. They welcomed us into their Brooklyn home and into their busy lives and made us feel like nothing was more important than our time together (even though they have plenty of pressing tasks each day).

Every police officer was kind and helpful. In fact, everyone we came in contact with was actually nice…I mean really nice. People gave us directions, held doors open, answered questions, and said things like “Have a wonderful day!” It was like manners and helping each other was en vogue.

Even our experiences at LaGuardia and throughout our flights was better than I could have imagined: there were no long lines, the security check was short and sweet, the American Airline employees were jovial (yes, I just used the word “jovial” when describing something about air travel), the woman at the magazine stand was friendly and smiled. Other travelers looked and acted relaxed and positive. I wonder, have I become so jaded that I am absolutely stunned by the persistent loveliness we experienced at each and every turn?

So the next time you assume something about a person or a place, try to show a little kindness and appreciation. You might just get it back ten-fold. Without considering people and ordinary moments for my paintings, I might not have noticed and appreciated all the little, yet valuable, human kindnesses we experienced in New York. Thankfully, kindness, as well as artistic inspiration, can find each of us just about anywhere.

 

A little inspiration goes a long way

“The distance is nothing; it is only the first step that is difficult.” Marie Anne du Deffand (1697-1780)

You know those words or quotes that jump out at you at just the right moment? Just when you need that extra nudge or new perspective? Well, this quote practically tore itself out of a magazine and pinned itself under a magnet on my fridge. And there it has remained for the past 7 or 8 years. I think I’ve read the tattered little paper almost everyday. It is simple, yet powerful. These words have enabled me to persevere during life’s ups and downs. Any challenge I can think of, no matter how gargantuan and hopeless it seems, is lessened and made possible when I read these words. They give me the courage to try, even when I don’t think I have the strength or skill to succeed. The real miracle occurs once I have started the task and taken “the first step.” I start to believe that maybe, just maybe, I can inch a little closer to a goal. I start to believe that maybe, just maybe, I do have the strength and skill I need. And I start to realize that, indeed, the distance is nothing and that anything is possible, or at least worth a try.

So, here I am, creating a new web painting portfolio and blog. Taking the aforementioned “first step.” I hope to start following writers and gaining readers who are interested in contemporary art and the ideas and processes behind the work. I imagine I’ll post various quotes and inspirational lessons, artists, writers and people whom I meet along the way. If anyone out there is reading this, welcome and thank you for visiting!

Laura