Visual Perception and Autobiographical Narratives
“Being able to work with the eye” is a talent. But it is not an exclusive preserve of those who have a natural penchant for it. Sensitivity for visual art or music can be acquired over a period of time with training. “To begin with, we must learn how to see- not look.” Looking and seeing are two very different actions. Looking is superficial and does not help the viewer in acquiring any new knowledge. Seeing, on the other hand, is looking at something and absorbing the sight. However, seeing through someone else, i.e. a teacher, or a friend, does not have the same impact as experiencing it first-hand. In the art world, an artist either makes works that are inspired by external sources, or his own inner dimensions. In both cases, the artist initially experiences something and captures it in his art for his audience to see and experience. It is his narration of events, his perspective. This depiction of personal events and their interpretations can be collectively termed as “Autobiographical Art.
Art, more often than not, has a narrative behind it. The narratives range from mythology, religion to autobiography. Although traditionally, the focus was on mythical subjects and nudes, art in the contemporary times, has shifted focus to subjects that are more personal such as self-portraits and other forms of autobiographical art. Though art, in all its forms, has a story behind it, there is a constant debate amongst philosophers about the aesthetics of an image and its value and about experiences and the scenes used to depict it. These are the concerns that are noted while evaluating a picture, or in other words, forming a “Pictorial Evaluation Thesis.” The thesis states, “No account of evaluating a picture as a picture will be complete, if it ignores the part played by experiences of the picture and the scene it depicts.” This thesis invites the viewers to look at the picture and appraise it based on their own experience of viewing the individual experiences of the artist that is portrayed.
In an artwork where narrative is subtle to a point of non-existence, a still life being a good example, the work fails to capture the minds of the audience after a point. Once the character or person is drawn onto paper, or expressed in any form of painting or depiction, they are reduced to the lines on the paper. People are all reflected or represented in many ways including in the things around them, since their surroundings is a part of who they are.This is seen in the context of art as well and which is also the reason as to why people resonate better with autobiographical art as opposed to other themes and narratives. They feel a connection, camaraderie of sorts with the artist and his experiences. Autobiographical art is a collage of sorts. It aims at putting together the understandings and the sentiments that the artist wishes to share into a single frame, in the form of images.
Francis Bacon said that all the images that the world puts in front of individuals are already present within their minds from birth. “So that as Plato had an imagination, that knowledge was but remembrance; so Solomon giveth his sentence that all novelty is but oblivion.” is an oft repeated line from Bacon’s famous book ‘The Essays’. This statement perfectly summarizes the previously mentioned sentiment. People are all images that are put together by the mind’s eye, based on the things around them, right from birth. These images form our memories as Plato said. However, as Solomon believed, one can choose to look at it with fresher perspectives, for newer interpretations, using the language of their choice, which in this case would be that of the artists. Artists use their paints, chisels or any other chosen medium to express their perspective about the world around them, their involvements with it and of their lives. Thus, autobiographical art which is merely a representation of the artists’ relationship with their surroundings and its effects on their being reaches out to the audience in a more personal and intimate way.
A fine example to illustrate this statement would be that of Los Angeles based artist Jesse Draxler. His works explore all aspects of his existence from “an unknown past, daunting yet exciting future, and rather stagnant present.” His works are largely influenced by the inescapable truth that all people who are born have to die eventually. Though this theme is universal, he considers his works, which are both digital and hand painted collages, to be self-portraits. However, since most people feel fear towards the notion of mortality, this also gives rise to an increased sense of connection with the works. Jesse’s works also reflect the fact that everything that a person does is based on the realisation that they are moving towards ultimate death. This is similar to what Francis Bacon said about images being with people from birth. Images that are constant from birth further develop throughout life, but with a constant reminder of eventual death. Further to this, his works have a sense of ephemerality to it, not in terms of the materials used, but within the subject itself, such as memories. For example, the large Black spaces that have come to be a constant in his works, talk of a traumatic childhood of which he barely remembers anything. The artist says that he has several blocked out memories of which he has no recollection of. This is also the feeling that the audience gets when they see large parts of canvas completely concealed in Black in works like Diamond Dust, Untitled-001 etc. There is a frustration that is felt by the viewers and that perfectly mirrors the artist’s mind and that is a sign of success. He manages to show the audience what goes on in his mind, complete with the blank spaces. An interesting point is that most of his works are untitled. This emphasizes the transient and autobiographical nature of it, as there are many things that are inexplicable and therefore, cannot be named.
Jesse Draxler also focuses on journaling and documentation. This is an important aspect of autobiographical art since the subject focuses on personal accounts and life itself; therefore, the process is as important as the end result. Autobiographical art apart from creating an impact with the viewers also helps the artist take a step back and look at their life from what is reflected in their art, from a different point of view. This helps them re-examine and re-evaluate the direction that they are pursuing, or in words, helps them retrospect, to see their life from a third person’s point of view. Another significant component of Jesse Draxler’s art is that he mainly works with collages, both digital and on paper. This evokes a feeling of overlaying and the juxtaposition of several personal aspects of narration, in a literal sense. This too, resonates with the audience as they understand the commotion and confusion that thoughts and recollections can cause. The Pictorial Evaluation Thesis also states a very similar definition. Drawing from the thesis and an analysis of Draxler’s works, it can be said that the experience that the audience has whilst seeing an artwork, is the most important facet of autobiographical art. While personal narratives are more commonly seen in two-dimensional works, it is certainly not restricted to it.
A lesser known ceramics artist, with self-narratives playing a significant role in her sculptural works, is Amanda Shelsher. While Jesse Draxler uses human forms and figures to represent his life narratives, Australia-based Amanda takes a more symbolic approach to her “semi-autobiographical narratives.” She uses personal iconographic images to guide the audience in their interpretation of her works. Therefore, this can be seen in two ways – she uses personal motifs to comment upon her daily life, or that she uses representations in a scenario where they gain meaning only because of the way that they have been portrayed. Her works are seemingly comical and light hearted, but upon closer examination, allows the viewers to experience deeper and more complicated “mental states and feelings.” A stark contrast between Draxler’s and Shelsher’s works is that whilst the former focuses on the idea of mortality, most of Amanda’s works such as the “Garden of Curiosities”, “Safe as Houses”, etc. celebrate life.Her works are dramatic and talk of “personal growth, memory, desire and motherhood.”It is interesting to note that both Jesse and Amanda’s works talk about mental health and the therapeutic impact of art upon it. While the former takes a more literal approach, Shelsher portrayal is subtle. Her work “Cracks are starting to show,” is a sculpture with two human heads, with quizzical, vague expressions that do not suggest any form of inner turmoil or problems. However, one can sense the disturbance when they read the title and connect the work to it. There are two heads, one smaller than the other, with grey lines going around their form in one continuous line. There is disruption of the original sense of equilibrium that was conveyed to the audience. The little head that is almost falling off the main one creates a sense of imbalance, and tumult. That is the fascinating aspect of this work. It seems quirky at first glance and upon closer look, there is deeper meaning to it. This is the same case with her other works as well, which include “Tidal”, “Over the Edge” etc. Further to this, her works such as “Go Away Black Dog”, “Not Now Black Dog” has a prominent Black dog, which Winston Churchill famously used as a euphemism for his depression. This again connects back to how she uses symbols such as animals and birds and also the titles of her art to guide her audience, rather than using a more direct manner.
It is immensely fascinating how autobiographical art narratives, though drawn from personal experiences, can yet be so unique in their portrayal. While Draxler and Shelsher focus on mental health and depression, Indian artist Hariraam Veeraraghavan focuses on hallucinations and the subconscious. He states that he has personally had out-of-body experiences and that his art is a catharsis of it. Along with this, his works focus on the notion of self and the constant search for the soul. However, unlike Amanda, his works use abstract, non-representational means to portray these subjects. There are no measures that are taken to guide the audience on a specific route, and nor are there any direct images like Draxler’s works. Veeraraghavan’s works can be about anything, or that is the notion that the viewers get. Thus, there is sense of freedom that the artist grants the audience, which would let them form their own judgements and interpretations, free of influence, however subtle. This leads back to the very basis of the Pictorial Evaluation Thesis, which works on the fundamental principle of audience experience and evaluation of an artwork based on it. The probability of unbiased judgement is far more likely, when there is nothing guiding the experience, as in the case of Hariraam Veeraraghavan’s works. His work “Drawing 24_2011” is noteworthy for its unassuming yet disordered emotions. The mediums used and the execution is simple, but the feelings that it evokes within the viewer is that of claustrophobia. The work which is almost hypnotic has the capacity to get into the viewers’ mind and affect it. At first glance, the work is nothing singular, but upon looking at for a few minutes, there is a gnawing sensation which is followed by a surge of disquiet. Everything is set into motion and the previously stagnant lines of the work start moving and nothing seems to make sense anymore and the surroundings seem to be closing in. As a viewer, there is a sense that things are slipping away and that the notion of control is illusory. The audience feels the uncertainty and the confusion that the artist has faced.
In autobiographical art, apart from appealing to audiences, the artists also feel a wave of release when they can see their mental images and feelings take a physical form. However, this package of introspection and re-examination is not only restricted to the creators, but it also extends out to the viewers. As the audience, it may seem to be a fairly easy choice to make, to use personal experiences to make art. But it is give-and-take of sorts. The spectators are given the opportunity to see through someone else’s eyes for a brief span of time and the artists are granted the liberty of seeing their surroundings differently. As people see an image, they never just view it; they always look for a bond between the thing or the image and themselves. And with this, comes the acceptance of the fact that there exists the “reciprocal nature of viewing.” This is a major contributing factor to the resonance of personal narratives and autobiographical art, with the audience. They see themselves in the work. And although images embody a way of seeing, it is the audiences’ own way of seeing that contributes to the appreciation of it.
References:
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