© Sara Schneckloth

The work of Sara Schneckloth strives to embody moments of remembering. The emotions and memories from our past experiences leave their mark on more than our minds, they affect the function of our organs, our bodies, today.  This thought informs Schneckloth’s work as she seeks to channel her painful memories into emotive lines of charcoal on paper.

© Sara Schneckloth 2005

The following are excerpts from an interview with Leslie Hinton:

I like to have a sense of a loose structure in which I can invent and explore the themes that are most relevant, but it is rarely a pre-determined event. Drawing lends itself to this kind of immediacy, in terms of both materials and how they are handled, and there is always the sense for me that I’m witnessing a thought evolve as I work. The initial phases of the process are much more visceral/intuitive than pre-conceived and intellectualized, but there is a moment in which I do come at the work from a more analytic bent.

I believe memory informs so much of how we move, how we hold ourselves, how we inscribe a surface – by consciously channeling this ‘ritual remembering’ I am hoping to give past experience an imaged present.

It’s along these lines that I started thinking – if I occupy a certain memory, actively grieving, what happens to my body. When you remember times of embarrassment, your face flushes, if you remember excitement or danger or fear your body responds – with adrenaline or muscle tension or a stomach clench. I realized that as I was making these drawings, as I was immersed in the act of seeing and drawing, of remembering and drawing, my body was going through a whole set of reactions and making marks that came out of those physical places of memory. My stomach would hurt, my shoulders would tighten, I would clench my teeth.

Reliquaries are vessels for holding remnants, or relics, of the dead – they show up in many cultural and religious traditions – in Catholicism – saints have reliquaries that preserve remnants of clothing or possessions or even fragments of bones…

My reliquaries are done in mixed media – oil, charcoal and pastel on paper – many on toned brown paper. To make them, I occupied the mental space of grief, of loss, of anger and sadness, and tried to draw from the gut – starting with a gesture that carried some of the emotion related to the memory I was feeling – then I consciously built it into a form of a container – adding features that I pulled from the work I did with the inherited objects – adding handles, spouts, mouths, lids, turning them into vessels, literal containers…

I had been reading a lot about reliquary figures in West Africa – small carved statues that sat on top of reliquary drums that contained human skulls and bones – the figures functioned as intermediaries between the living and the dead, serving as a site for ceremonial offerings and talking to the deceased. I was attracted to this idea of the intermediary object – something that could translate between the states of life and death, inside and outside, and serve as a point of focus or meditation. In a way, that’s what I felt like I was doing with my drawings. They stood in between me and the memory of my family, and it felt like by doing them, I was coming to grips with that separation.

At the time of this article,

Sara Schneckloth is Assistant Professor – Drawing,

University of South Carolina, Columbia, SC.

She has been teaching since 1996

Images are property of Sara Schneckloth

More:
Full interview with Leslie Hinton
SaraSchneckloth.com

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It begins with a curious fact that most citizens have never noticed: the White House was constructed to sit at the base of a mile wide pentagram, bounded by a pentagon positioned at the center of a 100 sq mile diamond. Three points of the pentagram are traffic circles surrounding small parks, one point is the Historical Society and the Southernmost point is the White House itself.

Below I have assembled screen shots from Google Earth which show, from above, the layout of the streets of our Capital City.

Click for the White House Placemark in Google Earth: white-house.kmz
(requires Google Earth to open)

Before assuming nefarious intentions, it’s instructive to understand that the pentagram did not take on its modern satanic symbolism until the advent of horror films. Surprising to many moderns is the notion that the pentagram was also once understood by some to be a Christian symbol of Liberation and by ancients, a symbol of Intelligence and Liberty.

George Washington and Pierre Charles L’Enfant, the French city planner hired to design the capital city, were both Freemasons.  Freemasonry has a rich history of preserving ancient symbology. So an inquiry into one of the crafts oft quoted texts may provide some illumination into the possible meaning behind our capital’s geometry.

The pentagram is explained in two ways in “Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry” (published in 1871):

In one instance it claims that the biblical Magi (or “three kings”) were astrologer-priests of the Zoroastrian religion and were following the path of the “Blazing Star” which was the planet Venus. The pentagram, or 5 pointed star is the symbol of the planet Venus because of the astronomical observation that Venus draws a pentagram path across the night sky every eight years. So, in this regard, the Magi followed Venus, along the the path of the “blazing star” which led them to the Christ child, in a manger in Bethlehem. Their path was one of spiritual liberation.

“Morals and Dogma” is an imposing and controversial tome which takes its reader (presumably a new initiate) on long, deep treks through history, connecting the dots of the divergent religious traditions in an effort to show them all to be varied appearances of a similar path. Another passage explains that in the ancient Hermetic tradition of the “Minerva Mundi”, the pentagram is the symbol which enables Mankind to attain independence, and through Intelligence, to separate Liberty from necessity.

Click to enlarge: Path of Venus or page images from “Morals and Dogma”:

As you may have noticed in the Washington DC  images above, the star is incomplete. It lacks one leg. Perhaps this was intended as well:

Benjamin Banneker was the self-educated, son of an African slave. He was an African American astronomer, mathematician, surveyor, almanac author and farmer and was appointed to attend Pierre Charles L’Enfant in surveying the capital. Banneker had become known for his intelligence when at 21 he constructed the first clock ever built on American soil.  What’s more, he accomplished this with no tools other than a his knife and without any formal knowledge of clock making.

When L’Enfant was dismissed from the Capital project for budgetary reasons, he returned to France, taking all of his city plans with him. Banneker then recreated the entire plan for the Capital City from memory and was hailed as the “Man who saved Washington”.

Banneker had also been friends with Thomas Jefferson. He had become deeply disturbed by Jefferson’s purchase of slaves. The following excerpt is from a letter written to Jefferson by Benjamin Banneker in 1791:

“…Sir, how pitiable is it to reflect, that although you were so fully convinced of the benevolence of the Father of Mankind, and of his equal and impartial distribution of these rights and privileges, which he hath conferred upon them, that you should at the same time counteract his mercies, in detaining by fraud and violence so numerous a part of my brethren, under groaning captivity and cruel oppression, that you should at the same time be found guilty of that most criminal act, which you professedly detested in others, with respect to yourselves.”

Jefferson responded later the same year:

“Nobody wishes more than I do, to see such proofs as you exhibit, that nature has given to our black brethren talents equal to those of the other colors of men; and that the appearance of the want of them, is owing merely to the degraded condition of their existence, both in Africa and America.”

Less than a year later, Andrew Ellicott was appointed surveyor in order to complete L’Enfant work on the Capital City. Ellicott relied upon Benjamin Banneker to reconstruct our Capital City, block by block,  from the plans faithfully recorded in his amazing mind.  I can’t help but wonder if  perhaps it was Banneker who removed one leg from that “blazing star”, that ancient symbol of Liberty and Intelligence. Perhaps he felt that a land of illusive liberties was better betokened by a broken star.

More:
Watch the path of Venus on YouTube
Benjamin Banneker on About.com
Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

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It was on the day after his birthday, and the last day of his life, that the reclusive hospital janitor’s extraordinary secret life was discovered…

Illustration from The Story of the Vivian Girls by Henry Darger (Click to enlarge)

Henry Darger was born in 1892, and after his parents died at a young age, he was raised in an “Asylum for Feeble Minded Children”.  At the asylum he was subject to harsh punishments and forced labor and ultimately escaped a year before the asylum was investigated for abuse.  Once free, he found work as a janitor, attended daily Catholic Mass and lived a quiet solitary life in which almost no one knew him or noticed him.

On April 13th, 1973, the last day of Henry Darger’s life, landlord (and accomplished photographer), Nathan Lerner opened the door to the small second story Chicago apartment where Darger had lived in solitude for 40 years.  At that time, Darger had been moved to the St. Augustine Mission because of his failing health.  Among Darger’s personal affects, Lerner uncovered several astounding works of literature and hundreds of works of art, all created in secret by Henry Darger.
Among these were:

• a 15,000 page work of fantasy fiction called The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm Caused by the Child Slave Rebellion;
• a 5,000 page autobiography entitled The History of my Life;
• a 10-year daily weather journal;
• assorted diaries;
• a 10,000 page novel entitled Crazy House
• Several hundred original illustrations and water color paintings depicting the plight of young children against oppressive and evil adults.

Darger’s images were often violent, even brutal, displaying the torture and murder of the children in his stories.  They can also be very colorful, playful, sincere and innocent.  Darger surely drew upon his life experiences in the asylum.  His unique style has given rise to the term “Dargerism”.  The American Folk Art Museum calls Darger “one of the most significant artists of the twentieth century”.

Nathan Lerner, Darger’s landlord, “was inextricably bound up in the history of visual culture in Chicago” (according to the New York Times), and instantly recognized the artistic merit of Darger’s compositions.  It was a truly remarkable coincidence that someone, such as Lerner, should be the first to see Darger’s secret works.  Under most other circumstances all of his artwork and stories would surely have been lost forever.  Nathan Lerner, and his wife Kiyoko, gained the rights to Darger’s estate and have brought the world’s attention to it.  Since Lerner’s discovery, Darger’s artwork has achieved wide acclaim as  “outsider art“.  His stories and paintings (and mental status) have become the subject of books and documentary films.

In The Story of The Vivian Girls, we come to learn that the Earth is actually orbiting a larger planet, much as the moon orbits the Earth.  It is upon this larger world that Darger’s story takes place.  I believe that for Darger, the inner fantasy world was larger than his reality, and his reality simply orbited this other, more important fantasy world.  In Darger’s world, abused children are avenged and innocence conquers all.

Darger’s body now rests in All Saints Cemetery in Des Plaines, Illinois, in a plot called “The Old People of the Little Sisters of the Poor Plot.” Darger’s modest headstone is inscribed “Artist” and “Protector of Children.”

Several examples of Darger’s larger works (click to enlarge):

More:
“Dargerism, Contemporary Artists and Henry Darger” -American Folk Art Museum, NY
In the Realms of the Unreal – Documentary Trailer
In the Realms of the Unreal – Part 1 on PBS
Vivian Girls Tattoo on The Awesome Summer Journal

Also, take a look at these Darger-inspired works by Ian Brownlee, here on SpillSpace

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For Ralph Waldo Emerson, beauty, genius, and wisdom are your native state, held captive only by the ramparts of conventionality, insecurity and the insincerity that pour forth as you seek the favorable opinions of others at the expense of the true expression of your rightful self.

Like many great men before him, Emerson too earned a badge of condemnation and was called a “poisoner of young minds”. He was even banned from Harvard for 30 years following an address he gave to the graduating class of Harvard Divinity School in 1838. But, Emerson exemplified the bravery of thought that he hoped you might find within yourself. His wisdom changed our world through men like Mahatma Gandhi and Martin Luther King, Jr, both inspired partly by Emerson’s transcendentalism movement.

I find it best to take Emerson in doses. I have called this “Part 1″ so that from time to time I might be able to add to this. In the excerpts below I’ve added italics to emphasize important points, the emphasis is not original to the writing.

Emerson’s “Introduction”:

Our age is retrospective. It builds the sepulchers of the fathers. It writes biographies, histories, and criticism. The foregoing generations beheld God and nature face to face; we, through their eyes. Why should not we also enjoy an original relation to the universe? Why should not we have a poetry and philosophy of insight and not of tradition, and a religion by revelation to us, and not the history of theirs? Embosomed for a season in nature, whose floods of life stream around and through us, and invite us by the powers they supply, to action proportioned to nature, why should we grope among the dry bones of the past, or put the living generation into masquerade out of its faded wardrobe? The sun shines to-day also…

Several excerpts from Emerson’s essay titled “Self-Reliance”:

I read the other day some verses written by an eminent painter which were original and not conventional. The soul always hears an admonition in such lines, let the subject be what it may. The sentiment they instill is of more value than any thought they may contain. To believe your own thought, to believe that what is true for you in your private heart is true for all men, — that is genius.

Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,— and our first thought is rendered back to us by the trumpets of the Last Judgment. Familiar as the voice of the mind is to each, the highest merit we ascribe to Moses, Plato, and Milton is, that they set at naught books and traditions, and spoke not what men but what they thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.

In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else, to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried.

Not for nothing one face, one character, one fact, makes much impression on him, and another none. This sculpture in the memory is not without pre-established harmony. The eye was placed where one ray should fall, that it might testify of that particular ray. We but half express ourselves, and are ashamed of that divine idea which each of us represents. It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but God will not have his work made manifest by cowards.

Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being. And we are now men, and must accept in the highest mind the same transcendent destiny…

Whoso would be a man must be a nonconformist. He who would gather immortal palms must not be hindered by the name of goodness, but must explore if it be goodness. Nothing is at last sacred but the integrity of your own mind. Absolve you to yourself, and you shall have the suffrage of the world.

It is easy in the world to live after the world’s opinion;
it is easy in solitude to live after our own;
but the great man is he who in the midst of the crowd
keeps with perfect sweetness the independence of solitude.

More:
Wikipedia
Google Books – Full Text of “Self Reliance”

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09-19-2006

Hey Sweetie,

I keep thinking about that movie last night.

I am curious about the writer or director of that movie.  I felt that he did a good job of splitting the various sides of ones personality into several pieces and then bringing those pieces to life in a compelling way through the characters of the movie.  We watch the drama of  “the innocent child”, the “depressed rebellious teen”, the rejected suicidal academician, the driven, success seeking “Winner”, the regretful old man who wishes he could do it all over again, and the woman who has to hold them all together as a family…  The characters are all so wildly different from each other, and yet I could identify with them all.  It is as if the writer took each stage of his own life and created a character to represent it.

I really think that the whole movie was intended as a Nietzsche-esque morality tale.  Of course, through Dwayne’s character  Nietzsche is mentioned and his book “Thus Spake Zarathustra” was displayed.  The “Moral of the story” given near the end of the movie is similar to one of Nietzsche’s teachings, which is “to embrace suffering“.  I believe it is Frank who argues that those times of suffering are the best times, the important times. Nietzsche felt that suffering was the most authentic human experience, and also one that human nature sets out to deny it self of.  And in denying itself, it inflicts it upon one another, and on the innocent.

Each character in the movie is discovering that the things they pursue are not only illusive, but ultimately meaningless.  They are what Nietzsche called “the tawdry baubles of a distracted life”.  The grandpa is reflecting on his life regretting that he didn’t pursue his passions more when he had the chance.  The father is desperately pursuing fame and success which seems to remain always out of his grasp.  Frank, the brother, has pursued a love and a career that have ultimately betrayed him.  The son has already abandoned all his dreams in life save one, his quest to be a test pilot.  Then life swoops down and strips him of his last and final hope when he realizes that he is colorblind – and thus ineligible for flight.  The daughter seeks in vain to be a beauty queen; a quest that is so transparently harmful, meaningless and futile, and so obviously destined to cause her to cast aside her own natural authentic self in exchange for the generic plasticity that the pageant encourages.  All this ultimately sets the stage for the entire cast of characters to have to question not just the Little Miss Sunshine Pageant, but the pageant of their own lives as well.  As Duane says near the end of the film, “life is just one beauty pageant after another”.   The only character who seems to be outside of this struggle is the mother.  Who in a way acts as the hub of the wheel without whom all the spokes would simply fly apart.

The Little Miss Sunshine Pageant serves as the vehicle for the process of group realization.  The palpable absurdity of watching Olive trying to win (or even compete) in this ridiculous pageant, and the sadness of seeing her tempted to exchange her own authentic beauty for the imitation of beauty the pageant rewards, helps the group to see that their own life pursuits have been absurd and inauthentic theatre pieces as well.  As they watch the little girl innocently striving towards something that will ultimately crush her, the group together comes to appreciate that those “tawdry baubles” which we seem so willing to trade our authentic selves for are actually rather meaningless and absurd.

Nietzsche wrote that it is that moment of discovery, when life has essentially defeated you and utterly destroyed you, that you are finally able to reflect honestly and realize that you have willingly exchanged your own authenticity for the “welter of mere conventionality, mere opinion, and the stock beliefs and phrases of a narcotized, self hypnotized population”.  It is in that moment that the only result must be a kind of “self loathing, the torture of mistrust, and the misery of him who is overcome.”  This becomes ones moment of awakening, and finally gives one the inner will to cast meaninglessness aside and embrace Authenticity.  Nietzsche felt that it is Suffering that is the path to Authenticity, and is why he felt that one should seek Suffering as a goal.

I agree with the spirit of this philosophy, but I disagree that one has to be destroyed in order to become authentic. I think that a better way to look at it is that if one chooses to place their hope and security in the inauthentic things, one will ultimately suffer and feel destroyed as a result.

Just a thought. I would like to see it again sometime.

Love, me

Click to enlarge image

More Little Miss Sunshine:

IMDb

04-03-2009
Addendum: I should add that I am not an expert on Friedrich Nietzsche (and certainly don’t claim to be).  At the time I saw the movie, I had been listening to (and inspired by) a lecture titled “Nietzsche at the Twilight” by Daniel Robinson (I highly recommend this series by the way).  It is quite possible that the quotes above may at times be my paraphrases of Professor Robinson’s paraphrases of Nietzsche’s work.  As this was a casual email , I was writing casually.  So please read it in this context.

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Jansen’s mechanical wonders are able to sense their surroundings.  Some can detect the dry sands to change direction before they become stuck.  They can tuck their sails to protect themselves from high winds or even detect the ocean water to reverse their steps and head back towards the dunes.  All of this is achieved through purely mechanical methods.

In Holland, Jansen intends for roaming herds of his mechanical animals to carry sand from the waters edge to the dunes as a method of protecting the dunes from erosion.  These herds will wander along the beaches with no human assistance and no need for power except that which is collected from the wind.

In Jansen’s work, beauty, intelligence and creativity are indistinguishable from one another.

If you liked this story, you may also enjoy: Math to Metal: The Art of Bathsheba Grossman

More Theo Jansen:

Wikipedia

BMW Commercial (1:06)

Strandbeest – The Spirit Within (2:58)

Animaris Rinoceros (0.19)

TED – Ideas Worth Spreading (10:10)

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The study participants were all dying of cancer, which means they had the somewhat unique experience of knowing, at least roughly, when they would die.  That must be a psychologically stressful experience for many.  After all, death is a rather big transition (understatement).  For the devout, death is a precursor to judgment as well.  I doubt many talked much about that, but it must be on their minds.  The fact is, death is a bigger deal to the devout than to the atheist whose expecting little else than lysis of the cellular membranes followed by the spilling of intracellular contents once  their biologically sustaining functions have ceased, and then, nothing.

I relate to the devout, I was once a devout fundamentalist Christian.  My purpose in life was the avoidance of sin, the conversion of others and the constant study of scripture.  But I can also relate to the atheist because I was raised by my parents to be an atheist. I am at neither extreme now, but having spent much of my life at the extremes, I empathize with the experience of both groups and I did not find the researchers outcome to be surprising.

For an atheist, or at least for this atheist, the love of life was undermined by a deep sense of meaninglessness.   I think the full scope of this is hard for many to grasp.  The ultimate purposelessness of life and the universe is so weighty as to render all relative meaning and purpose as inconsequential.  As a result, depression becomes a natural outcome, and even seems quite rational to the atheist.  I was deeply depressed throughout my childhood. I have come to believe it was the black hole inside me, left by the absence of spirituality.  It is no wonder that the atheist does not pursue drastic end of life measures.

I converted to Christianity at 19 and the pendulum swung full arc.  Ultimately, despite my youth, I became an important leader in my church.  As such I taught bible studies and counseled other members on a weekly basis.  I came to the realization that many deeply devout practitioners had become that way, at least in part, due to an overwhelming fear of death; a fear which propelled their devotion.  Others among the most devoted were reacting to a deeply painful sense of guilt and worthlessness.  Such a negative self worth appears humble and  righteous when expressed religiously.  It is not paradoxical to imagine such people taking extraordinary measures to extend their final hours.  I left my church five years later and since that time I have never fit nicely into any religious description (you might say I am post-denominational).

Ultimately, as Shakespeare once mused, death is that undiscovered country from whose bourne no traveler returns.  It’s presence in our minds, whether ominous or victorious, gives weight to our lives.  The finite length of a lifetime imparts an immeasurable, if earthly, value to our final moments; and perhaps an infinite value to our souls.

Reference:
JAMA
Economist

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You can buy food, but not appetite;
medicine, but not health;
soft beds, but not sleep;
knowledge but not intelligence;
glitter, but not comfort;
fun, but not joy;
acquaintances, but not friendship;
servants, but not faithfulness;
grey hair, but not honor;
quiet days, but not peace.

For money you can have the husk of all things,
But not the kernel.
That cannot be had for money.

Arne Garborg, Norwegian Writer (1851-1924)

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Arnold says “Tom, you know I respect your accomplishments and I know you have overcome many obstacles and you pursue so many sports despite your blindness. But Tom, you can’t beat me, I am a golf legend. I would be practically stealing your money.”

But Tom was irrefutable and persistent and finally Arnold grew weary and a bit irritated and said “OK Tom, you are on. I’ll take your $1000 bet and I will beat you any time, any where, you just name it!”

Tom replied “Tonight! At midnight!“

The moral of the story: Every obstacle is an opportunity when viewed from another perspective.

Mark Victor Hansen tells this great story, you may know him as the creator of the “Chicken Soup for the Soul” series.
Tom Sullivan also authored the book “If you could see what I hear.”

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This post was inspired by a true story and the numbers are all real…

A friend of mine I will call “Mark” began suffering from moderate low back and neck pain. Occasionally the pain would shoot down an arm or leg. He went to see his doctor who ordered two MRI’s at a local hospital. “Mark” is a self-made millionaire and as such, finds health insurance to be unnecessary opting instead to pay his bills himself.  “Mark” decided to shop around for a bargain, and he found one… in Mumbai, India.  Here are the numbers.

$3700: The cost for MRI’s of the Cervical and Lumbar spine in an American hospital.

Compared to:

$100: The same MRI’s in a hospital in Mumbai, India by American trained physicians.

$1080: Round trip tickets to Mumbai, India.

$340: One week stay at the luxurious Four Seasons Mumbai.

Total Cost for an MRI vacation to India: $1520

Total savings for a patient willing to take a vacation to India and outsource their medical care vs going to the American hospital 3 blocks away: $2180

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