Naked People

DSC_0132 (2)Hillary (charcoal, 20 minute pose)

I took a Drawing I class at the University of Dayton, and we drew boxes the first class.  The second we drew a model wearing a bathing suit.  By midterm the models wore nothing, but by then I had become habituated to seeing nude men and women on the modeling stage.  The problems of figuring out basic proportions and drawing hands and feet outweighed any shock I felt from seeing body after body.

I took a life drawing class the next semester.  The process was familiar, but the instructor demanded more.  And my classmates drew on a much higher level.  I felt intimidated, so I learned to steal from the best.  Gary drew like an angel–I couldn’t figure out how he captured a human figure and it’s surrounding space with a few lines.  But I noticed that he always included a rug or the section of the stage on which the model stood.  He showed a bit of depth that way.  I stole that.  Dave made bravura marks for emphasis after he had the main forms down.  I stole that.  Violet accented junctions where two planes came together, pop-pop-pop all around the drawing.  The accents created points of tension that countered the long lines flowing along the length of an arm or a leg.  Beautiful.  I stole that.

The models had varying attitudes toward their work.  One emaciated woman cringed before dropping her robe.  She slumped onto a cushion at the shadowed back of the stage, stared at the floor the whole time she posed, and answered the professor in monosyllables.  I felt guilty drawing her.  A short man with a muscular body held his head high and relaxed into his poses.  He lost his detached composure once when he caught me glaring at his groin.  I was trying for a third time to correctly draw the juncture where the thigh inserts into the hip, but he mistook my frustration for an odd reaction to the sight of his privates.  I shifted my gaze and drew his knees after I saw him frown back at me.  A redhead struck long, languorous poses.  Her lips curled in a lazy smile as she directed inappropriate jokes at the male students.  She’d say, “Well, boys, what are you looking at?” and “See anything you like, boys?”  During breaks she’d don a robe and walk around the class to inspect our drawings.  She didn’t bother to use a tie, and her garment gaped open as she stood next to us.  She had a crush on Gary and lingered at his drawings.  One day she exclaimed, “You make me look so beautiful!”  After she returned to the stage Gary slowly, deliberately erased her face off the drawing.

I eventually became an art instructor and taught life drawing with nude models.  I learned from painful experience to give my students a lecture about art room etiquette before a first lesson.  I say, ” One:  the model has not come to class to socialize with you.  I am not running a dating service, and you will not ask for a phone number.  Two:  you will not touch the model.  Three:  you will not make personal remarks or jokes about the model.  Four:  you will not photograph the model.  Five:  treat the model with respect.  If you cannot follow these rules I’ll kick you out of class, and you’ll have to find a way to make up for the missing drawings on your own.  That will cost you time and money.”  Then I give them examples of bad behavior.  “A student stood three feet away from a model and told me that the model was too ugly to draw…A woman in a figure painting class made a bad sketch of the model.  When the model returned to the stand after a break the student tried to twist the model’s arms and legs to match the mangled contortions of her drawing…A student, an older woman wearing a baggy sweater and bifocals, confronted a model on the first day of class.  She shouted, ‘Jezebel!  Jezebel!’ when the model opened her robe.”

I believe that the close study of a face and body (scars and all) is a way of honoring an individual’s history and humanity.  But some of my beginning drawing students refuse to draw from a nude person, even if the model is of their gender.   Religious faith trumps acceptance of the human form.  I give my moral protestors an alternative.  I send them out of the classroom to draw nudes from old master prints and paintings.  They never complain about that form of nudity–it’s second hand nature doesn’t compromise their principles.  I no longer bother any to tell them that Raphael, Rubens and Da Vinci drew directly from models, that Western Art is based on the unembarrassed study of naked people.  If I did they’d only think that I was making excuses for my sins.

DSC_0133 (2)Joyce (oil on canvas)

Come Up and See My Etchings

Rosemary, the printmaking instructor at the University of Delaware, insisted on taking as many students as possible to visit an artist in Philadelphia.   The grad students in her class knew they had no choice, but she even pressured a few undergrads to come along.  One offered the excuse that he had other classes on the day of the trip, but Rosemary dismissed it saying, “This trip is more important for your growth as an artist.”

The bus ride took us through grimy neighborhoods of trash strewn streets and boarded up buildings on the south side and dropped us off in Center City.  Fifteen would be artists dutifully trooped up the steps of a two story brick row house.  A quiet man in his late thirties opened the door slowly and greeted Rosemary in a monotone.  He waved his hand for us to pass inside, but left us milling around in the entryway.  He seemed reluctant to let us into his inner sanctum.  Rosemary said, “Can we see your studio?” He led us up a narrow, dark stairway to a room crowded with work tables, flat files of paper, and storage cabinets with wide, flat drawers.  Recently pulled prints hung by clothes pins on thin wires strung from one wall to another.

“So, am I right in assuming that you’ve all seen my work?” he asked us.  No one answered.  I barely remembered his name, and Rosemary had said nothing about the style and subject matter of his prints.  She simply told us that he was a etcher who showed his work at an important gallery in Philly.  He stared and waited, shoulders slumping lower.  He sighed:  another defeat.  “Then why are you here?” he asked.

Rosemary flattered him until he was sufficiently mollified.  He put on white gloves and laid out prints on a long, white table.  He combined imagery from several photographs to create interiors and landscapes that looked real but subtly wrong.  The perspective wasn’t completely consistent, but the individual details looked so accurate that the eye accepted the spaces as dry depictions of an uncanny world.  They reminded me of dreams I had of my Midwestern home town:  familiar streets and houses recombined with landmarks from other places.

I asked the print maker about his technique.  He told us that he achieved his photorealistic effects by pointillism.  He used a needle to meticulously prick tiny holes in the asphaltum covering his copper plates.  I asked him how long it took him to work on a plate.  I expected him to say months, but he replied, “Oh, about a day.  That’s the easy part.”  I followed up with, “But how many times do you etch the plate?  What about revisions?”  “I do it all in one layer, no revisions.  What takes the most time is designing them.”  He opened a drawer and took out a sheaf of preparatory sketches.  Each one looked like finished works of art.

Rosemary asked him to show us works in progress.  He laid out another pile of exquisitely rendered drawings and said, “These aren’t very good yet.  I hate showing you these things.”  We protested, and Rosemary said, “Really, these are wonderful.”  The man mumbled, “If you say so.”

He showed us a few more prints, an etched plate or two, and then escorted us down the stairs.  He stood on his porch and stared at his shoes as we walked away.  He retreated inside and firmly shut the door after he had said a quick goodbye to Rosemary.

On the ride home students chattered about classes at Delaware and argued about politics (Reagan’s Iran/Contra scandal dominated the news).  Some wore Walkman’s and listened to music.  I thought about the print maker and wondered if the effort he put into his images paid him back in the end.  How could a man with that much ability and accomplishment feel so discouraged? I had a tenth of his talent.  Was there any hope for me?

I was too young to realize that happiness often had little to do with success.

 

Teach, Breathe, Relax

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My wife, Judy, gets worried about me when I come home after teaching a rough class. My reddened face tells her that my blood pressure is elevated once again. She speaks to me in a quiet voice suitable for calming an angry dog and steers the conversation toward topics having nothing to do with teaching.

Lately I’ve been encountering students who do not listen to instructions, fail to understand instructions but do not ask questions, cherry pick one part of the instructions while ignoring the rest, and who do random things unrelated to the assignment even after getting further instruction and clarification.  This occurs after I’ve shown them examples of correctly finished drawings and done demonstrations of techniques.  I’ve sometimes had to sketch the beginning steps on their drawings to get the basics established.

They think that I’m odd and damaged when I show signs of irritation and frustration after they self-sabotage their work by further acts of blind incomprehension or bored indifference. One student cannot follow any verbal instruction.  I told him last Saturday to start a tonal painting by working from dark tones to light tones.  He responded, “Okay, light to dark.”  This was the third or fourth instance of communication failure between us within a few minutes.  “No,” I pleaded, “dark to light!”

The other night a student nodded along when I gave her instruction, and then proceeded to do the opposite of what I had told her.  She advised the women next to her to follow suite, and I had to deal with a minor insurrection.  She began to do the assignment correctly after I gave her a series of increasingly curt orders.  I relaxed as the class began to go as planned, and she asked me if I felt better.  She spoke to me in a patronizing tone as if illness had been the cause of my irritability. I suffered a relapse when I growled in response, “Don’t worry about how I’m feeling.”

I’ve been talking with Judy about all this and have realized a few insights about teaching and my frustration:  1. I get a sense of personal satisfaction when a student learns something–I’ve made a difference; 2. my classroom is a place where I feel in control; 3. I put a lot of effort into preparing and presenting a class.  When students fail to learn my sense of satisfaction disappears.  When students react randomly to my directions I get anxious because I feel like I’m losing control.  When my efforts are ignored I feel disrespected and unappreciated.

I realize that it’s a fool’s game to rely on others for self-worth.  I can only do my best and let the results come in as they may. Getting churned up over a weak group of students is pointless.

A few months back I tried the technique of watching my breath during times of stress.  If I slowed down and paid attention to air passing in and out of my nostrils I had a chance to relax and reset my emotions.  Recently I read a passage from Yogananda where he advises his devotees to keep their calm throughout the day, and to watch for the instances when they fail.  He says that progress can be judged by how well we live in peace with our surroundings.

And that sounds like a good goal to me.  If my focus is on maintaining a sense of peace and calm while I teach, and not so much on ego driven ambitions (control, accomplishment, praise), I might be a lot more effective…I need a tattoo on the back of my drawing hand that says, “Teach, breathe, relax.”  And on the other it could read, “Keep the calm.”

Landscape Painting Force Field

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Bougainvillea Looking West

I’m still working on a landscape that I started this summer and wrote about in “Front Yard Monet”.   I know that it’s nearly done as some areas are resisting improvement, and additional maneuvers only make them slightly worse.  I tell my students that each painting is a collection of missteps and corrections, and that with every new canvas a painter learns a new way to accept defeat.  But defeat does not mean discouragement.  It means that new territories of experience and expression still await.  A perfect painting means that exploration has come to an end.

I also tell them that painting a landscape usually involves more problems than changing light, fickle weather and attacks by bugs: a plein air painter is often beset by bystanders who comment on the work in progress and share their viewpoints about their lives, religion, politics, and art.  They persist unless discouraged.  On Friday I resorted to a desperate measure to fend off three onlookers and was partially successful.

I was painting a patch of grass in the left foreground when I heard the sounds of a motor and a radio approaching.  A weather beaten man with one lone tooth in his upper jaw who wore a baseball cap, shorts and a tee shirt pushed a mower slowly toward me.  Reuben stopped to look at the painting, but didn’t turn off his radio or the motor as he told me about his attempts at painting and photography.  He had a thick accent, and what with the background noise I had trouble understanding everything he said, but managed to pick out a few of the major points.  The man said that he had several regular customers in the neighborhood and helped them with their gardens as well.  Reuben enjoyed working as him own boss in the outdoors as it gave him time to appreciate the beauty he saw everywhere around him.  A recent sunset moved him so much that he took a picture of the red and purple tinged clouds above a glowing horizon. And then Reuben knocked on the door of a nearby house, showed a befuddled stranger his picture, and pulled his victim out onto the lawn to make him look at the splendor of nature.

He had used up the memory in his phone and now carried a small digital camera to continue taking his photos.  With practice and persistence he had developed a sense of composition that allowed him to isolate the most choice elements in the landscape.  Now when he snapped a picture he framed hidden beauty in such a way that it revealed itself to his viewers.

Reuben also told me that he had financial difficulties and lived in a rented room a few blocks away, but that his life had grown so much richer now that he lived a simpler life.  I didn’t cut him off because he kept saying things about life and art that agreed with my own observations, because it would have been wrong to interrupt his joyous flow, and because the man had a huge need to unburden his thoughts to a willing  (and/or unwilling) audience.  After 20 minutes, however, I began to use a Buddhist practice of following my breaths to help me remain patient. He had begun to repeat himself, and I feared that the sun would set before Reuben finished his harangue.  Thankfully he walked on after he had taken three or four selfies with me and my landscape, and had apologized at least five time for taking up my time.

I painted a bit more after he left, but decided to go inside for a drink of water.  I remembered that I had a cigar on my dresser, a Christmas present from my daughter’s fiance’.  I took it outside with me and lit up.  Reuben returned pushing his mower just as I arrived at my easel.  He grinned and said, “I bet you’re smoking that to keep me moving on.”  I smiled and said nothing but thought, “Damn right!”

A man in a pick up truck pulled up a bit later and asked me what I was painting.  I pointed down the street to my view, and he looked at the painting on my easel.  He seemed surprised, gave me a compliment or two, told me he lived just down the block and promised to return later.  I puffed on my cigar and hoped that he would not.  He drove away, but swung back around the corner a half hour later and pulled up in his driveway two houses up the cross street.  He did not come back for a chat.  “Good cigar,” I thought.

A young woman stopped her car beside me just as I began to place a few touches on the clouds above a tree.  She asked me if I were a professional, and I said, “Yes, and I teach painting and drawing at Crealde School of Art and Valencia.”  She said, “I take classes at Valencia.  What’s your name?”  I told her and said that our department was a good place to  study.  She seemed bright and pleasant, but light was fading and it was time for me to pack up and start supper. I puffed on my cigar.  A cloud of smoke drifted in her direction, and she fled before she was engulfed.

Later that night I sent a message to my daughter on Facebook.  I told her that her boyfriend’s gift, a Quorum Shade from Nicaragua, was much appreciated.  And then I looked up cigar stores online to see if a local shop sold them.  I’m thinking about starting a series of landscapes in my neighborhood and may have to stock up.

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My Viewpoint

Why Artists Get Snippy

Sandhill crane

Artists have a reputation for being a bit touchy.  Their egos appear to be easily bruised to those in professions in which work has no personal value beyond earning cash and prestige.  Artists work for those goals too, but their production is tied to their personal creativity, to their internal values.  When someone tells a painter that he or she doesn’t like a painting the artist often feels a twinge of rejection that an administrator in a food packing plant doesn’t feel when consumers say that they don’t like a particular brand of canned asparagus.

The skills that artists use and the work they make are consistently undervalued by the public, gallery dealers, and officials in arts organizations.  We’re fresh meat until our work gains enough clout so that we can call some of the shots.  But even then there are instances of exploitation.  The situation truly reverses only when the artist’s work is so in demand that a gallery, museum and the buying public have more to lose than the artist.  Then a painter (Picasso got away with this quite often) can take his or her revenge by fobbing off mediocre work on fools willing to pay for anything bearing the artist’s signature regardless of its quality.

I’ve told a few of the following stories to newby artists who are beginning to consider using their talent to earn a living.  Most think that I’m being incredibly negative until they’ve had a few experiences of their own. 

I once received a phone call from a stranger who heard that I painted murals.  He wanted to hire me to paint scenes of an ancient Roman bath on the walls of his bathroom.  I was appalled at the idea of trying to work images of Roman columns and marble statuary into a composition that would complement this guy’s toilet and bathtub, but I politely told him that I wasn’t the right man for the job.  He was angry that I turned down the project and sneered, “You artists are all alike.  My mother was an artist, and she was way too sensitive.  She always got huffy when I said anything about her art.  You’re just like her.”  Our conversation ended badly.

On a another venture I drove down to Kissimmee, Florida to a janitorial service company.  They wanted a mural on the inside wall of their office to brighten things up.  I got lost and arrived a bit late, and my reception by the manager wasn’t all that friendly.  He pointed to a five feet wide by eight feet tall gap on a dimly lit wall between gray metal shelves holding cleaning supplies.  My mural would have to fit in that space.  I asked him, a secretary and an accountant what kind of imagery they wanted.  One wanted a teddy bear flying a biplane pulling a banner with company’s name.  One wanted a giraffe (she liked giraffes) dressed in a company uniform pushing a broom.  The final request was a pink dolphin leaping out of a pond in a clearing of an Amazonian jungle. (I swear that I’m not making this up.)  They would have added a few more things, but I told them that that imagery was more than enough to make a compelling composition.  I went home and actually began to do some sketches for the mural, but they didn’t contact me again as they had promised.  I decided to forgo forcing my services on them out of a sense of self-preservation.

I went on a fool’s errand several more times in hope of landing mural painting jobs.  One was to a juvenile detention center in West Orlando.  I was told that I would be paid $300 to paint the front facade of their building, which ran about 50 yards long and was twenty feet high. At best, once I took out the cost of the paint, I’d make five dollars per hour for the job.  The committee that met me to discuss imagery had not convened before, offered no previously agreed upon theme for the mural, but unanimously disliked the drawings I brought.  We brainstormed.  One woman wanted me to paint happy, skippy families walking hand in hand on a path in a park.  She didn’t like it when I questioned the propriety of putting a greeting card message on the front of a jail.  Another thought that beige stripes might be nice.  The other two committee members stared blankly at me.  We reached no agreement.  I killed that deal by telling them to call me when they figured out what they really  wanted.  They never did.

The last attempt to win a mural contract was negotiated with a young mother living in an uppity upscale neighborhood in Winter Park.  She wanted a floral garden for a wall in her dining room.  I showed her several of my landscape paintings, and we discussed a composition.  She paid me $40 to do a small scale mock-up canvas for the project, and she was thrilled when I brought it over a few days later.  She held onto the painting to show it to her husband, friends and decorator.  The next time I met her the deal fell through.  The colors in the painting were too bright.  “I can add white to make them more pastel,” I countered.

“You added an arch along the garden path.  We didn’t talk about that,” she said.  Her tone of voice accused me of trying to pull a fast one on her.

“The arch makes the composition better,” I said and added, “But I can take it out.”

“My decorator says that the focal point of the room is the French door.  She thinks that a mural would be a distraction.”

I didn’t tell her what I was thinking, that what she really needed for that wall was wallpaper.  Instead I waited for the final shoe to drop–she was building up to something.  She looked at me shrewdly and said, “Well I did pay you $40, and I’d like to keep the little painting.”

“We agreed that that money was to pay for my services in coming up with a design for the mural, not for the painting itself,” I answered.  I usually sold my landscapes for $200.  She insisted that she deserved something for her money, and I gave in.  She was more determined to rip me off than I was to wrestle the canvas out of her hands.

I’ve also been treated poorly while minding my own business painting landscapes.  Ex-frat boy business men out on the streets to get lunch mock me with “Yo, Picasso!” when they see me working at my easel in downtown Orlando.  Random passersby like to stand in front of me to block my view.  They caper and dance up and down and ask, “Want to paint me?  Want to paint me?  How much will you pay me to pose?”  This has happened so many times that I’ve learned to ignore these prancing idiots and work on the sky until they go away.  If they are persistent I tell them, “No, sir.  I really, really don’t want to paint you.”  Some folks will stand a few inches behind me and look over my shoulder as I work.  If they linger they inevitably begin to tell me, their captive audience, all about their personal history, love life, troubles at work, etc.  One guy, an unemployed nurse who had difficulty getting along with supervisors, bent my ear for twenty minutes.  Then he graced my unfinished painting with a disparaging glance and gave me a grade:  B+.  A woman murmured a few condescending pleasantries before advising me to add figures to my painting of Central Park in downtown Winter Park.  When I didn’t immediately start painting the oldsters sitting on the park benches she added, “Your painting is dead if you don’t add figures.”  She had a smug, cruel smile on her face as she spoke–she apparently knew a lot more about painting than I did, and she was used to having her wishes immediately obeyed–and was surprised when I waved her away with twinkly fingers and said, “Bye bye.”

Outdoor art festivals are other public sites of humiliation for artists.  I gave them up long ago, but a friend of mine, a fellow landscape painter, endured several years of intermittent abuse as she waited on potential customers in her canvas tent.  I witnessed one such moment.  Brenda loved sandhill cranes and had done several paintings of these unusual birds.  I listened in as a customer, a middle aged woman with a red face, exploded in outrage in front of the crane paintings.   She cried, “Sandhill cranes!  I hate those birds!  They land on my car and leave claw marks.  They shit all over my lawn, and they tear up golf courses and they’re a nuisance down at the docks where we keep our boat.  If it were up to me I’d shoot every last one of them!”  She stormed out of the tent convinced that Brenda had schemed to paint those birds in order to personally insult her.

Brenda’s tent and the tents of several other good painters were mostly empty that night.  But down the row from Brenda’s booth were a man and a woman doing brisk business.  They had figured out that a fair number of budding alcoholics in Orlando were sentimental about booze and dogs, and had brilliantly decided to combine the two subjects into improbable but popular images. When a patron walked up they asked, “What’s your favorite dog?”  Then, “What’s your favorite drink?”  Then they would use a laptop and an inkjet printer to run off an image of a miniature dog curled up inside a drinking glass (a chihuahua in a martini glass or a beagle in a wine goblet) and would charge $25 for the print.

I once comforted a student who was upset that one of his paintings wasn’t selected for a show.  I told him that he would get along fine in the art world as long as he accepted the following adage:  In art there is no god, and in art there is no justice.

 

 

Reading and Writing: A Growing Addiction

My mother is an obsessive reader.  She finishes every novel she starts even if she despises it after the first few pages.  She used to try to read all the novels in alphabetical order on the shelves of our local library, and succeeded for a short time to escape from the A section.  When she had gone a few books into the Bs, however, she noticed that the library had added new authors in the As, and she returned to them out of some need for literary completion.  She eventually abandoned her quest and began to buy piles of books at a local church festival.  I contributed to her addiction on her birthday, Mother’s Day and on Christmas by sending her novels, memoirs and books on fashion.  Friends and fellow obsessed readers have lent her additional books, and she always has ten or fifteen in her queue.  She’s often said to me that she doesn’t know how some people get along without books.  They are tools of survival for her, and she uses them as escape pods when her life gets difficult.

I read a lot when I was a kid and got the reputation for being a bookish nerd.  I played basketball on our school team in middle school, and was mocked for buying a biography about Connie Hawkins.  My classmates thought that I was trying to learn how to play better by reading instead of practicing.  I had a bookshelf in my room, and when a couple of guys came over for a visit they refused to believe that I owned and had read the fifteen or twenty novels on display.  I didn’t tell them that my Mom and Grandpa Reger had gotten me hooked at an early age on novels by Booth Tarkington, Mark Twain and Kenneth Roberts.  I had read hundreds of books by the time I hit eighth grade.

I’ve been an artist since the 1980s and am thoroughly aware of the ins and outs of creating visual art.  I got used to the mental and physical struggles that came with painting a landscape, a portrait, a still life. One of the plagues of doing such work is that my mind is free to roam at will as I apply my brushstrokes.  Subconscious crap rises to the top while I’m adding layer after layer of paint, and sometimes I’m busy battling enemies from long ago while also trying to figure out the shape and color of a model’s nose.  The background noise gets very loud and disruptive sometimes, and I dread going to my studio on days when I know that I’ve got plenty of mental garbage stored up.  I’ll sift and sort through memories, consider present difficulties, and worry about the future as the painting creeps along to the finishing line.  I’m like a marathon runner dragging bags of sand behind him as he tries to keep moving forward.

I began to write short stories, plays and novels about ten years ago as an alternative means of being creative.  When I’m writing I get lost in a world of imagination.  Characters and scenes take on an intense life in my mind, and there’s no space for my inner demons and trivial concerns to jump out of their hiding places and jabber at me.  For a time I can escape the prison of my preconceptions, obsessions and self-delusion.  I still paint, but can no longer claim that it is my favorite means of self-expression.

I read little when my kids were young, but books have become important to me once again now that I have a bit more free time.  I read a novel and enter a world that is not tainted by me.  I’m choosier than my mother, however, and only stick with novels that feel amenable.  Sometimes the attraction is based on plot, on interesting characters, or on rich language.  I’m a sucker for a redemption story (not religious redemption, but personal redemption) and hate novels that are slow motion train wrecks.  I love “Nobody’s Fool” by Richard Russo.  The main character, Sully, struggles to come to terms with his life and the influence of his abusive father.  He wins out, unexpectedly at the end, over crushing difficulties.  I hate “Children of a Lesser God” by Arundhati Roy.  She telegraphs a tragic ending from nearly the first page, and makes the reader wait a long time until the desperate moment finally arrives.  This book reminds me of childhood visits to a dentist who never used Novocaine.  I had plenty of time to dread the inevitable in Dr. Roley’s waiting room as I listened to a drill drone on and on while his victims whimpered in pain.

I have lots to do in the concrete world around me, and can’t afford to live in the land of imagination constantly.  But there are days when I’m in the middle of an excellent book and it’s difficult to disengage to go to work or do household chores.  I feel like a deep sea diver who must slowly rise to the surface in slow stages.  For ten or fifteen minutes after closing a book I live in a world that’s tinted with the colors and emotions of the printed page.  I see things through an author colored lens.  The full weight of duties and responsibilities eventually presses down on me again, and it’s a sad moment when the glow of an alternative light fades away.

 

Rough Sketch: An Interview with Aimee Mamelon

rough sketch cover

Here are some sections of an interview with Aimee Mamelon, the author of a new adult novel set in the Central Florida art world.  The book is called,  Rough Sketch.

JR:  I understand that Aimee Mamelon is a pen name.  Why adopt a false identity?  Aren’t you proud of this book?

AM:  Nice opener.  Let’s get to the hostility right away.

JR:  I’ll rephrase my question.  Aimee Mamelon is a pen name.  Interesting…

AM:  I’ve worked as a model, artist and art instructor in the Orlando area.  Some of the characters are composites based on people I’ve met, and the plot contains elements of stories I’ve been told and my own experiences. I didn’t want colleagues and  acquaintances and friends leaping to conclusions.

JR:  You didn’t want them to find out that you were writing about them?  Won’t they figure out your identity once they read a few passages that are about things that only you and they went through together?

AM:  Please listen carefully.  This is a novel, not a memoir.  None of the things that happened in this book are a blow by blow account.  The characters in the book are representative of certain types of people I’ve met in the art world, but none of them are direct portraits of actual people.  Got it?

JR:  So you’re not a sex addict?

AM:  No.

JR:  But your main character, Lizzy, is.

AM:  Maybe at the beginning.  I think of her more as a female Don Juan, as someone who’s desperately trying to find fulfillment, to patch a few gaping holes in her life.  She uses sex to take the cutting edge off of her loneliness.

JR:  Why did you open the book with a graphic sex scene?

AM:  Well, obviously, I wanted to get my readers’ attention.  And I wanted to introduce the main character’s core problem right at the outset.  The first chapter is really about playing out her frustrations more than reveling in her satisfactions.

JR:  She keeps trying to find some sort of escape from reality?

AM:  Yes.  Exactly.  She drinks and goes out clubbing and has one night stands to forget that she’s just scraping by, her family drives her nuts, and that she feels unloved and unlovable.  When she takes someone home she can believe for a moment or two that she’s taking control of her life and her needs.

JR:  But of course she just makes things worse.

AM:  Yeah, it takes her a long time to figure out what she really needs and how to get it.

JR:  Have you ever modeled in the nude?

AM:  Yes.  I’ve modeled for art classes, and I posed for a boyfriend who is a figure painter.

JR:  So the scenes where Lizzy models are fairly accurate?

AM:  Oh, yes.  The first time I modeled in a class I thought that I was going to throw up or faint.  It feels pretty strange to be the only naked person in a room of 25.

JR:  Does that get easier the more you do it?

AM:  I was a little nervous every time I modeled, but not nearly as bad as the first time.  It depended a lot on the instructors and the students.  Some teachers were very demanding and didn’t care if my leg went into a spasm during a pose.  They just expected me to keep holding it.  They acted like I was an object.  Some were a lot more kind and took my needs into account…One creepy guy wanted to date me and called me up at home at all hours and asked me what I was wearing.

JR:  That had to be awkward.  What were some of the stranger moments you faced in class?

AM:  I was modeling at a little, nonprofit art school, and all the students were in their thirties or forties.  I relaxed.  Usually it’s younger college kids who show no respect.  Well, anyway, I’m standing on the modelling stage wearing a bathrobe, waiting for the male instructor to stop talking to one of the female students.  He finally says a few words, I drop my robe and hit a pose, and this old bat in the corner looks me straight in the eye.  Her face is red and she’s glaring at me.  She throws down her charcoal, points a finger at me and yells, “Jezebel!  You brazen Jezebel!”

JR:  Really?  What was the class?  Watercolor still life? 

AM:  Figure drawing.  I guess that lady had no idea that artists draw nudes in a figure drawing class.  Go figure.

JR:  What did the instructor do?

AM:  He was pretty cool.  He asked me to put the robe back on, and then he told the lady to pack up and leave.  She demanded her money back, and he opened up his wallet and peeled off a few bills.  He apologized to me after class and said that the school gets some odd balls from time to time.

JR:  Is the art world as tough as you’ve portrayed it in the book?  Is it all about finding out a way to sell out in order to make some cash?

AM:  I’ve understated some things.  It’s intensely difficult to make a living doing anything creative.  Some artists try to tailor their work to a market.  In Central Florida there are a lot of artists doing old fashioned still lives and landscapes.  I see lots of flower paintings and landscapes with a palm tree stuck dead center.  Sky, water, palm tree.  This kind of work usually sells a lot better than scratchy, dark abstractions. 

JR:  Do you look down on the sell-outs?  You went to art school.  Didn’t they teach you to look down your nose at realism?

AM:  I don’t blame them at all.  If they figure out how to turn a buck selling art I’m ready to applaud.  One thing you learn in the art world is that it’s not a meritocracy.  Some of the best artists I’ve known have a huge collection of their own work.  They can’t give it away, and the only ones who really like their work are fellow artists who can’t afford to buy.  Sometimes the least talented artists get to the top of the heap by relentless self-promotion.  But there are times when crap art gets exposed and the good artists get shows and sell.  It’s all random…If someone can figure out how to make the money flow in their direction, even for a short while, then I say, “Go for it chickee!”

JR:  That sounds a little bitter.

AM:  Just trying to be realistic.

JR:  Are you still working as an artist, or are you devoting all of your efforts to perfecting your craft as a writer?

AM:  It’s about even.  Sometimes I feel less inspired to go into my studio and work on a painting.  The computer looks more inviting then.  And sometimes I get tired of digging around for the right word, the right turn of a phrase, and it’s nice to pick up a brush and turn off the words in my head.

JR:  Are you modeling anymore?

AM:  I trade off with friends from time to time.  They pose and I paint, and vice versa.  Mostly it’s just for portraits.  I can’t remember the last time I posed in the nude.

JR:  But not for college classes?

AM:  No.  I gave that up when I put on a few pounds after I had my first baby.  A lot of models quit when they no longer feel confident in their body image anymore.  It takes guts to get up on stage and have twenty pairs of eyes poring over every square inch of your body…And the joints get achy.  I did yoga to stay loose and limber, but after a while I started visiting my chiropractor more often than I wanted to, and modeling seemed like a less attractive way to pick up a few extra bucks.

JR:  At the end of the book Lizzy gives up a lot of her independence to take care of her lover.  Do you think that she made a good choice?

AM:  She learns to give more of herself, to expect less from others.  But I’m not sure if Peter is a good bet in the long run.  He’s an alcoholic with personal issues of his own.  But I think that their relationship gives Lizzy a chance to figure out a different route for her life.  When she’s with him he presents enough of a challenge to force her to make different choices.