For some reason I have been thinking lately about the lonely death of the American writer Tennessee Williams. Here is a brilliant man who has crafted some to the greatest plays of all time for the American Theater. Things like A Streetcar Named Desire, The Glass Menagerie, and Cat On A Hot Tin Roof. He choked to death on the cap of some eye drops he was trying to open with his mouth on February 25, 1983. How is it that a man with such a great mind for creating some of the most fascinating and complex character studies can pass away from something so insignificant as a bottle cap? Tennessee Williams is probably one of the most influential people on my life and work. As a young theater student in my twenties, when I had finally entered his remarkable world, I felt like I had finally found a home. He wrote about all the things we as culture in Montana like to keep hidden and considered taboo: alcoholism, homosexuality, addiction, beauty, the loss of beauty, fear, doubt, and self-loathing. A world where people were trapped by their often-brutal existence. Nothing seemed sacred to Tennessee. He himself grew up in a shattered world, feeling closest to his sister Rose. She was schizophrenic, in and out of hospitals, eventually becoming lobotomized; she became the wellspring for much of his characterizations. He used the dysfunction of his life to add life to those remarkable characters of Blanche, Brick, Laura, or Alma. Everything he wrote seemed to plummet into the heart of darkness whether it was a play, novel, or even a short story. His writing was filled with passion, honesty, and above all humility. When I entered this world I somehow knew most of these characters and could see so much of his despair and depression within myself. I became addicted and spent a year reading everything consumable about the man. Eventually I directed a production of The Glass Menagerie for my senior project at the University. I still get a giddy feeling when I read anything written by this master and am still captivated by the ground away versions of the Hollywood classics. That scene with Elizabeth Taylor blurting out the truths of Sebastian using her for procurement of young boys leading to his cannibalistic death before she is about to be lobotomized by his mother, Katherine Hepburn, who will do anything to keep the truth hidden in Suddenly Last Summer is one of the greatest moments in film history and still sucks me in with it’s intensity. I could write a year of just blogs on Tennessee Williams alone.
So much of my own imagery and the worlds I enter with my own photography have to do with the feeling, tone, and mood of Tennessee Williams characters and stories. There is a beauty in the darkness where we remain hidden. My work becomes about exposing the inner life of my characters in a raw and sometimes vulnerable way. There is so much depth hidden within all of us that is rarely allowed to surface. Yet there is remarkable beauty in that depth. This is the place I like to explore with my subjects. This has been a year of finding a wholeness within myself and I feel that dysfunction beginning to fade. I fear this may affect my work. I somehow doubt it because I have always got Mr. Williams to remind me of where I have been. To me he is the essential homosexual on my shelf. It’s unfortunate the upcoming generation doesn’t even know his name, as the quotes of his characters imbued my generation and gave life to an culture, fade into a lost oblivion. We no longer rely on the kindness of strangers, but instead become the strangers.
I am strongly becoming empowered by other artists’ images. I have been working with several other artists from around the world who have submitted images and writings that I have been creating galleries of for this project. It means spending a great deal of time with each image to build page by page and the more I study others work and talk to them the more I somehow become connected to their worlds. There is such strength in the impression they impart on their works no matter the style of medium they work. Each piece needs to be studied individually to really understand its power. In many ways it’s unfortunate to show such a large body of work because it forces us to skim through it as a collection without really paying attention to the detail. Where as each piece is a single moment suspended in time, which has often taken hours, days, some times even months to create. I am beginning to realize the images should be looked at individually. Unfortunately, we live in a world where we are inundated with so much imagery that we often just spend a few moments working our way through the vastness of it all. In olden days, images were hung on a wall of a gallery, museum, or salon and you were forced to interact and respond to the pieces that hung before you and when something really caught your eye you could linger and try to unravel it’s mysterious influence. I don’t think this happens so much anymore. We may bookmark or download an image and it becomes part of a vast collection, we may never even get back to again, because there is something new to see. And often times when we do go back and look at an image it will not have the same impact it had in the first place because we have changed and now see it from another perspective. But if we linger long enough, the power of the artists’ vision begins to take hold and influences the way we see ourselves and our own sense of our own creation and we see the artist as a mirror to ourselves. In the 1972 version of the film “Cabaret” the director Bob Fosse borrowed an idea from the original script in which the play ends by dropping a large mirror down so the audience can literally see the reflection of themselves revealing and asking us to examine the judgmental racism of Nazi Germany within ourselves. It is a powerful moment of the show. Though it doesn’t quite work on film the mirror is still there and becomes a reflection turning our focus inward. Art dealing with the still taboo subject of male nudity still has that impact and I am delighted to be and adoringly enamored to the be the in company of such amazing talents.
I have a young extremely talented filmmaker friend who has developed a brilliant script that he is trying to raise funding to produce. It’s going to be an extremely low budget film with a wallop. I have read the script and it very good and having seen this kid’s work from the past I totally can see his vision and know he can pull it off to create something extraordinary. The story centers around a guilt-ridden custodian of a decaying hotel that is dragged back from despair by a mercurial young woman with her own bleak past.
A question has recently arisen about getting to the essence of who we are as artists. I have recently been reading a book about a man, in love with photography from age 10, who went to a photography workshop with the photographer Minor White in the 60’s. He was posed with the question of photographing his essence, not to photograph his personality, but to go deeper into the core of his being, to “Photograph who you really are.” He couldn’t grasp the concept of finding himself or even recognizing himself but then has an epiphany that clearly defines his vision and changes the course of his life. The book is called “The Zen of Creativity: Cultivating Your Artistic Life” written by John Daido Loori and it is a completely different approach to discovering who we are as creative souls.
I have the first featured painter and visual artist on The Naked Man Project website today. The artist is my friend Tom Acevedo in Boston, whose paintings I have admired for such a long time, who also happens to be a very sexy hot man. Just wish I could afford one of his images for my studio. We have created a profile for him in the featured guests section and you will be able to link to a gallery of his work and see his comments on the images. Now, along with Alison, on the literary end and excerpts from her writings, the project seems to be growing and is heading in the direction I had envisioned from the beginning. Now that you can see how it’s going to function, I am still looking for other creative souls to contribute. Contact me if you are interested. The site is currently registering about 50 to 100 people an hour, so there seems to be a lot of traffic glancing at it. We are now a little over two weeks since the initial launch so it all feels great right now. We are still suffering from an occasional broken link and not sure sometimes how they happen, but I am beginning to realize it is part of the process of growing and learning it’s functionality so please bare with us as we work it out.
