Dark Art Crosses Barriers

Dark Art Crosses BarriersDark art crosses barriers like no other art movement! People from seemingly all walks of life are interested in Dark art. Why is this art genre so all inclusive? The answer may be quite simple. There are few things that all people have in common, but suffering is certainly one of them. Every person has suffered. Thich Nhat Hanh,  Vietnamese Buddhist monk, teacher, poet, peace activist, and author of The Heart of the Buddha’s Teaching, had this to say, “Anxiety, the illness of our time, comes primarily from our inability to dwell in the present moment.” Visual artistry, unlike literature, has the ability in its raw state to cross language barriers, cultural boundaries, and political positioning. But most importantly it possess the unique ability to bring our attention to the present moment. Thich Nhat Hanh would say “We have to learn the art of stopping”, and yet visual artistry requires no education in this present-tense engagement.

Dark Art Crosses BarriersHow many times has a painting, sculpture or drawing literally stopped you in your tracks? Perhaps you were scrolling through your Facebook feed and an image immediately grabbed your attention – your future speculations, your past reflections, temporarily suspended. This is not signature to Dark art though. Regardless of the art genre, be it Pop surrealism, Lowbrow, Avant-Garde, or Dadaism, visual artistry poises us to engage without first categorizing the information, “Usually when we hear or read something new, we just compare it to our own ideas. If it is the same, we accept it and say that it is correct. If it is not, we say it is incorrect. In either case, we learn nothing.” (Thich Nhat HanhThe Heart of the Buddha’s Teaching) In the case of visual artistry, we need not become entangled in interpretation before experiencing its depths. 

Dark Art Crosses Barriers Yet we still linger around the precipitating question: why does Dark art cross barriers like no other art movement? I have posited the reason to be suffering, the one aspect of life that everyone has in common. Dark art deals with fear, anxiety, worry, alienation, terror, and other forms of suffering, but does so in a safe manner. A canvas cannot hurt you. You are safe inspecting the details of a dark painting, and most importantly, it can end right there. But it does not have to, “When we direct our attention toward our suffering, we see our potential for happiness. We see the nature of suffering and the way out. That is why the Buddha called suffering a holy truth. When we use the word “suffering” in Buddhism, we mean the kind of suffering that can show us the way out.” (Thich Nhat HanhThe Heart of the Buddha’s Teaching) Chet Zar discusses his brand of this philosophy in the 2015 documentary Chet Zar: I Like to Paint Monsters, “It’s sort of like turning a light on in a dark closet to show a kid that there’s nothing really there, there’s nothing to be afraid of. They’re not something to be afraid of, they’re something to be looked at and learned from.”   

 

Dark Art Crosses Barriers All visual artistry could be considered “medicine wheels”, as described in greater detail by Cheyenne Native American spiritual leader and poet Hyemeyohsts Storm, “Any idea, person or object can be a Medicine Wheel, a Mirror, for man. For example, one person alone on a mountaintop at night might feel fear. Another might feel calm and peaceful. Still another might feel lonely, and a fourth person might feel nothing at all. In each case the mountaintop would be the same, but it would be perceived differently as it reflected the feelings of the different people who experienced it.” When we look upon a painting, drawing or sculpture we are seeing our own thoughts, feelings, and ideas reflected back at us, and so in the case of Dark art we are faced with our individual suffering. 

 

Dark Art Crosses Barriers Some might say that like suffering, we all share the pursuit of happiness, and while this may be true, it does not always bring us together. “Everyone wants to be happy, and there is a strong energy in us pushing us toward what we think will make us happy. But we may suffer a lot because of this.” (Thich Nhat HanhThe Heart of the Buddha’s Teaching) My pursuit of happiness may infringe upon another’s, and this may be cause for derision or worse, conflict. Or I may be pursing an illusory happiness. My idea of happiness might also differ from another’s idea of happiness and place us at odds. We can, on the other hand, come together over our suffering, because each of us has suffered. I do not have to agree with a person’s world-view or ideology to relate to their suffering.

I believe Plato said it best, “Be kind, for everyone you meet is fighting a harder battle.” During these unsettled times it is vitally important to remember this. Rather than attaching to the ways in which we differ from our fellow humans, we should focus on how we are the same. Progress is only made by coming together, regardless of how uncomfortable it may feel. In many ways this is no different than looking upon a piece of Dark art that is very unsettling. Dark art and Dark artists are often misconstrued, as explained by Chet Zar: I Like to Paint Monsters Co-Producer Erwin Tschofen, “Actually those dark artists are really light artists, because they shed light on the things we don’t want to see.” 


“I don’t like that man. I must get to know him better.” 

Abraham Lincoln

 

 

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Mike Correll

Mike Correll's fascination with Dark Art is long standing. As a young child he began drawing the monsters that plagued his dreams. Despite the reprimands of his worried teachers, his parents supported him in his artistic endeavors, allowing him to creatively purge the often violent and grotesque images that came to him in his sleep. Drawings made way for collages and sculptures, but Correll sought a larger audience and ultimately turned to filmmaking. In 2002, he graduated with a B.A. from Fairhaven College at Western Washington University, pioneering a degree titled "Imaginative Moviemaking." His studies included screenwriting, film appreciation, video production, and fine arts. Although Correll resides in New Mexico, his home state is Washington where he received local accolades at the Projections Film Festival with his video work, taking Best Feature Documentary for "The Many Faces of Homelessness" as well as Best Animation for "Labyrinth of Penumbra". Correll also interned with EVR Films, where he worked to master skills related to special effects, costume/set design, directing, producing, editing, and cinematography. In addition, he has created TV commercials, music videos, and experimental narratives. His newest release, Chet Zar: I Like to Paint Monsters (2015), takes the audience into the dark and foreboding world of Chet Zar, where apocalyptic industrial landscapes are inhabited by disturbing yet beautiful monstrosities. Correll asks the question: Who is Chet Zar, and why does he like to paint monsters? Hailed by Tattoo Magazine as "Beautiful, moving and thought-provoking", and regaled by Clive Barker as "An inspiring and important film...", the documentary won an "Honorable Mention" at the Santa Monica Independent Film Festival, and the "Guerrilla Marketing" award at the Albuquerque Film and Music Experience.

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