Tag Archives: art and freedom

An Excavation of Seeing

3 Oct

About the guest blogger: Treacy Ziegler is a regular contributor to the PAC blog, and has been an exhibiting artist for the past 23 years. She studied painting and printmaking for four years at the Pennsylvania Academy of Fine Arts.  Before studying art,  Ziegler received a Master in Social Work from the University of Pennsylvania. In 2009, Ziegler began exhibiting her work in prisons and created An Open Window, a project within the project of Prisoner Express in the Center For Transformative Action affiliated with Cornell University.  In this voluntary project she donates her artwork to prisons, develops in-prison art workshops, and creates through-the-mail-art curricula with a network of 3,500 prisoners throughout the United States.

I am in the housing unit of a men’s maximum-security prison looking at drawings of a prisoner the others call Columbia.

Most of Columbia’s drawings are cartoons – typical of drawings I see in prison. Among his assortments, I see Sponge Bob, Mickey Mouse, and Bugs, but then I see a drawing of a deer.  It is still in the cartoon style but there is something about the drawing making it different and giving it more resonance.

In this mental health unit where individual prison cells line one side of the large room, I go to Columbia’s cell asking about the deer drawing.

Columbia describes how he was a deer hunter and while hunting came upon a deer in the woods; not particularly unusual for deer hunting.  But while he placed his scope upon the deer, he was struck by the deer’s returning gaze upon him and in this look, Columbia said, I could see all the perspectives of the deer at once. It was the impact of the deer looking back at him that Columbia attempted to convey in the drawing.

While some may dismiss the magic of deer’s return look as crazy talk – after all, we are in this prison mental health unit – I think otherwise.  Instead I think of a statement made by the nineteenth century French painter Cezanne on drawing landscape.  Cezanne said, the landscape speaks to me.

As a visual dialogue with landscape, Cezanne does not see a thing-with-facts, but rather experiences a relationship. Cezanne knows not to impose his intention on this dialogue; neither his preconceptions nor what he thinks he should draw into the creative process.

In the flash of the deer’s gaze, Columbia had a Cezanne-moment where preconceived knowledge is abandoned enabling him to draw the deer in all its perspectives and making photographic or geometric logic irrelevant.

In another prison in another state, Nathan draws in the designated corner. I don’t know how long he has been in this prison or for how long he will be here. His is a crime that, I’ve concluded in my years of going to prisons, everyone is capable of committing in the perfect storm of any life.

Mostly, I leave Nathan to his drawings and constructions. Although Nathan draws what he sees from life, he quickly turns his focus upon the drawing paper.  While some may suggest that he works from imagination, this doesn’t really describe the process.  Nathan is still in conversation but it is now with the marks on his paper pulling him into the world; thus preventing him from falling into the solipsism and visual redundancy that often happens when the artist feels imagination and self-oriented intention reign. Marks and materials have voices of their own and listening to them leads Nathan to new territories in this corner of the prison.

Nathan Riggs, charcoal drawing, triptych, courtesy of the artist

Nathan Riggs, charcoal drawing, triptych, courtesy of the artist

That prison is a closed system makes for reshuffling materials; tattoo becomes drawings, magazines are copies and rarely is the immediate surrounding world – the one that is necessary for dialogue – used as a source for creating art.  The world is seen through a mirror darkly and then profusely copied.

Rarely do I see drawings where the prisoner-artist is looking directly at the world without the filters of another’s eyes through photographs. Prison drawings departing from copying photographs are often misunderstood and dismissed by other prisoners and prison staff in the demand for rendering photo-realism.

Perhaps, equating good art with the ability to copy a photograph may not be peculiar to prison. Public opinion as reflected on Instagram suggests the general population also regards ability to copy a photograph as great art.

When the prisoner Daniel in another prison shows me a portfolio of drawings that looks like any other sheet of tattoo drawing, I ask the class, how does a tattoo get authority as art?  Daniel suggests skill, someone else suggests ink, and another says design.

None of the above, I say, the tattoo gets authority from the body – from the arm, leg, neck, or whatever body part upon which it exists.  Take the tattoo off the body and it becomes a sorry deflated balloon.

Somewhat miffed that I didn’t praise his tattoo drawings, Daniel agrees saying, I’ve been sitting in my cell for 11 years wondering why I couldn’t get the same affect as an actual tattoo.

The artist cannot demand that a medium do what he or she wants the medium to do. As I tell the prisoner-artists, If you ever been in a flood, you know that water does what water wants, and the water in a watercolor is no different; falling and spreading upon the paper as it will.  Some of the students have been in floods and all have known falling.

If the artist is but one voice in a larger choir consisting of materials, mediums, color physics, so on, and whose voices are as important as the artist’s, what happens to self-expression?

When I ask my class if there is self-expression, because, after all, each one of them is the sum total of everyone they ever met, quoting some post-modern philosopher I forgotten, Samuel retorts, if I am the sum total of everyone I ever met, then why ain’t that sum total in here with me?!  A good question.

However, the question is not whether there is a self, but whether there is individual expression?

If I were intent on expressing myself it is likely my delivery would be more propaganda than expression, more thinking than experience, more hope than feelings; consisting of a visual running commentary of expectations from both myself and others. In other words, it is hard to discern what is truly my individual expression. This becomes particularly true in prison where individual expression may make or break a parole hearing.

Instead of self-expression, drawing becomes an act of listening in which there is no imposed agenda upon what is seen and thus allowing the visual dialogue to emerge. Translating this to the class, I ask them to forget meaning, forget expressing themselves and embark on a descriptive exploration of the world.

The prisoner Kaey takes issue with this. He believes that in order for his art to be significant, he must create meaning in it.

I hear both prisoner and non-prisoner artists say; I want to make something meaningful in my art – not realizing that meaning cannot be created or manufactured; that the construction of meaning leads to something contrived like an insincere Hallmark card.

Meaning is a funny thing.   If we are lucky meaning shows itself; meaning that is always there, meaning that is always already, meaning that is always everywhere; meaning that is larger than we, and meaning that we can never reach because meaning continuously extends.

But how is meaning revealed?  This was my question when I created the project Dear Self/Dear Other for the prisoners in the through-the-mail art curriculum.

It is my belief that meaning is revealed in the everyday images that make up our lives; personal images not created, not copied but excavated. And when the artist relinquishes control over meaning, these forgotten or ignored images surfaces – not necessarily to be understood but to be experienced.

In my own art, there is a primitive house on stilts that emerges in various forms throughout my paintings, sculpture and monoprints. I accepted its presence without knowing why until a viewer asked about its meaning at an exhibition.

Looking at the painting, I suddenly realized it was an image from when I was six years. This was a time when my family of five lived over a brothel in Little Havana, Miami after my father lost our Philadelphia upper-middle class house in a series of poker games, my baby sister was born dead, and my mom went temporarily crazy.

But on a fun family daytrip to Key West beating the heat of Miami, I discovered a house on stilts that appears seemingly planted over the water.  And while the ocean rushed beneath the house creating a sense of magic, I imagined us living in that house above the surf where my mother would be happy. Looking back to the viewer’s face at the exhibition, I realized; oops too much information.

An Island, oil on panel, courtesy of author

An Island, oil on panel, courtesy of author

Had I considered the connection myself while painting it, the information would have been too much for me interfering with the process of painting.  Free of my awareness, the painting emerged with its own voice allowing it to exist independently of what it meant to me and whatever message I might have imparted to it.  Knowing the history of my haphazard child is not a vital factor in experiencing my art.

Knowing that what is seen in the past continues to impact upon the present, I asked the participants in the Dear Self project to draw what they saw at six years of age.  But the waters of childhood are dangerous and, often, there is no house on stilts.

Nicholas writes that when he began drawing what he saw at 6 years old, nightmares from the past started to torment me, so I had to stop.

Reggie sends me a drawing of a lynching apparently occurring when he was 6 years old in 1959 in Philadelphia.  I am not sure if he saw the lynching or heard about it.  In either respect, I cannot help but wonder to what extent this early image of a lynching had upon Reggie whose life subsequently became one of violence; a history including his own violence towards others and, as he reports, being raped by the guards at Eastern State Penitentiary at 17 years old when he was first incarcerated.

Reginald McFadden, courtesy of the artist

Reginald McFadden, courtesy of the artist

Another prisoner writes of beatings he endured by his mother. The many stories from prisoners of being abused and neglected as children make it understandable why copying celebrity photographs may be preferable as the form of art in prison and why Kaey wants to invent meaning rather than to discover it.

But, art is not an escape from living; it is an entry into it; art not as therapy but art as breathing – taking everything in and out, good and bad for the creative gristmill.

When I leave Columbia’s prison, it is night and I drive the mile prison driveway to the main road through the white deer sanctuary that surrounds the prison.  I don’t know why the prison is built here although I later learn that the white deer is the symbol of redemption for Native Americans.

I did ask on my initial meeting with the Deputy Superintendent what would happen if I felt compelled to walk the beautiful paths through the high surrounding scrubs. She answers, you will be shot, making me think the vocabulary of redemption does not exist in this prison and the white deer are irrelevant to their programming.

But on this evening’s drive out, the moon is full and when I see its light reflected on the white deer in the scrubs, I see them as shooting stars. And as these deer appearing like stars turn to look at me, I think of Columbia.

Later, I paint a white deer.  At the bottom of the painting, I add the following words for Columbia knowing he may never walk the beautiful paths.

At night,
when others sleep
and the officers are playing cards,
I become the white deer blinded
in the headlight of the moon,
And I am.

Treacy Ziegler

Arnot Art Museum Installation, Landscapes of Confinement. The white deer.

Arnot Art Museum Installation, Landscapes of Confinement. The white deer.

 

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