Touching Death in Art

There were two years after I completed radiation for lymphoma that I didn’t write. I battled high anger and deep sadness. My wonderful doctors said my brain chemistry was messed up because of where I received radiation.

They told me it would pass and I would write again.

They were right. But…

Yesterday, while at the doctor for mundane reasons, I asked him why, after almost six years cancer free, that sadness was still there. It isn’t that I’m depressed. As I explained, it’s like an entity of sadness down in there somewhere. All I have to do is pause and look for it. When I consciously make that effort, I feel it and want to cry. If I let it come up, I do cry. I call those my blue moments. They are connected to nothing that is going on in life at that moment.

My doctor actually got a bit teary. Coincidentally, I’d asked him this question on the anniversary of a cancer related date for his wife.

He then said people who have been through cancer tell him the same thing. That they can feel something left behind. He hears it especially from writers, artists, creative types. And many of them tell him that in a way it’s an odd gift because they can dip down into that and use it in their art.

When he said that, I had the revelation that I’d done exactly that in the third book, Ghost Roads. As I wrote, and tried to imagine how the character of Harlow felt as she faced betrayals, I would pull up that sadness, ponder on how it felt, and use that to help describe similar emotions for the character. While I knew I was doing that during the writing process, I hadn’t put it into conscious thought until my doctor said that.

He then went on to tell me that his personal belief was that cancer survivors have briefly touched death, and that’s what the hidden sadness is.

Our conversation then went like this:

Me: I don’t think of myself as a cancer survivor. I didn’t have it that bad. I only had to have radiation.
Him: You were bolted to a table every day.
Me: Yeah, but I didn’t go through anything like my sister did, or friends are. I didn’t have to have chemotherapy. I only lost part of my hair.
Him: Your throat was so swollen you couldn’t eat. Water tasted like blood.
Me: Yeah, but…my sister invites me to go on cancer survivor walks but I don’t.
Him: You earned the right to wear one of those tee-shirts.
Me: No, not really. She did. She had it a lot worse. I just was sick for a while. I was never told I was going to die. I didn’t have to face the prospect of death.
Him: You still touched death.

And there we were back to the original topic.

Do I believe I touched death? Honestly, no.

I do believe something was left behind though, because I can feel that something in there. And yes, it does feel like a deep sadness, which is completely separate from depression. That’s a difficult distinction to explain.

And then there’s this realization I came to a little bit ago that made me write this post instead of working on the current story.

Every time I sit down to write, I immediately feel a weight, a sadness. Many times I can’t move past that weight and so instead of writing, I visit Facebook, or play solitaire, or chat online with friends. Occasionally, if I think about it ahead of time, I start music as soon as I sit down. The music distracts me from that weight, and I can then write.

In every day life that sadness rarely becomes visible. But I’ve just realized that every time I sit down to write, it surfaces.

After the visit with the doctor yesterday, and spending some time thinking about that conversation, I realize I’ve made a mistake.

When I sit down to write and feel that weight bubble up, rather than avoiding it with the internet, or drowning it in music, I need to learn how to control it. Let it become part of the writing process so that I can draw from deeper emotions.

I’m not quite sure how to do that and I imagine learning will involve forcing myself to write when I would rather give in to the weight and leave writing behind. After all, if I did that without realizing it while writing Ghost Roads, there must be a way to make it more of a conscious decision.

In the meantime, there’s a lot to think about. And that appointment yesterday? It ended with my doctor giving me a huge hug and thanking me for reminding him of the things he needed to mourn, and celebrate, with his wife that evening.

lincoln city jan 06 017

Photography as Art, Part 1

Following is an interview I did with photographer Jane Speleers of Royal Squirrel Photography (http://theroyalsquirrel.com). I’m always fascinated by what draws us to specific forms of art. And photography, like so many forms of art, tells a story.

Besides being a photographer, Jane is an adventurer, horse woman, climber, and all around very nice person. How do I know? I’ve known her for a few years now and she was very nice when my dog peed on her new carpet.

Vala - the carpet-peeing slob

Vala – the carpet-peeing slob

Jane asked me to edit her comments as she worried about English being her second language. I chose not to for two reasons – I didn’t see anything to change, and I prefer to have the words remain true to the voice. Hope she doesn’t mind!

When you pick up the camera, and your subject is before you, what are the first things that come to mind?

What I think is: “Who is she? What is she feeling? Does the camera make her uncomfortable?”. I try to not affect my subject with my presence. I try to understand and relate to my subject’s emotions so I can act/interact in a way that would make them feel that I’m part of what they already know, their environment, and keep them comfortable.

It seems like light and shadow could be manipulated to tell the story and I know those can be used to illuminate or create depth. But how do you know to use those tools? Or, more simply, how do you know how to use light and darkness?

Light and absence of light can be manipulated to intensify emotions in an image. These are perceived by our senses like music in horror movies. If you cover your ears while watching a suspense movie, you might not get scared at all. If I use artificial lighting when taking a picture of a living room, it will make it look bright; all the furniture, built-in features and details will stand out as a “whole” since they all receive the same amount of light. It might even look spacious. In this case you can see it all. Maybe this image would be used for a home ad. However, if I take this same picture without studio lighting, with only natural lighting coming in through the window…you will only be able to see what is within the light reach. Or not even that…you might only see furniture silhouettes. In either case, many questions would come up to your mind, like.. “Is that a chair or is there someone behind the table?” “Is that an abandoned house?”, “Is that a haunted house?” The absence of lighting changes the concept of this picture from ‘A nice living room’ to ‘a haunted/abandoned living room”. I’m not saying that absence of light has negative connotations. When light is absent in some parts of the image, this increases the tension on whatever is brighter and leaves more room for the imagination to complete the image based on what this is able to decode.

Your photos, especially those that are taken outside, always look unrehearsed, as if your subjects are part of their surroundings. How do you pose them to get this natural connection with their surroundings? Or do you pose subjects?

It depends on the subject. It normally takes me about twenty minutes to understand how my clients think, how they verbally communicate, what subjects makes them laugh and the way their bodies unconsciously communicate. This last is the most difficult to understand and direct. I would say that I usually manipulate 50% of the image by choosing the location and directing the photo-shoot. Ideally, the other 50% is natural and spontaneous. Some clients are a bit nervous at the beginning and later on they get super creative and silly during the shoot, which makes the most fantastic portraits. Plenty of laughter, playful poses, and some people even dance in front of the camera! I want my clients to enjoy not just the final product but the photo-shoot as a great experience and the portraits as a souvenir from that memorable day. However, for some people it’s hard to be spontaneous when there’s a camera capturing every move they make. And I can include myself in this group. For which I am in constant communication with them, joking around and explaining to them what I’m doing and what my vision is. When they feel that I’m being honest with them, that I am aware of their emotions and I explain to them that there’s nothing to be worried about. They seem to feel a lot more comfortable because they understand that I’m working with them and for them. And looking at the camera is not an issue any more. They share thoughts and memories with me and this leads to making spontaneously happy and meaningful portraits.

As you go about daily routines, what kinds of things catch your eye and make you think, ‘that would be a great photo’? A similar question would be the more traditional ‘what inspires you?’.

Most days, I’m inspired by my dogs, Frida and Whiskey. Their body language, facial expressions, silliness, naiveness, and the way they communicate with me. I could photograph them every day of my life and there would always be something new to smile about.

Other than that, nature with natural light in the early morning.

Storytellers ask themselves ‘what if’ and that question can be the well that stories spring from. It seems to me that this would work for photography, too. Do you have questions that you ask yourself as you move through the process?

I ask myself “what if” every few minutes. There’s many, I even dare to say “hundreds” of ways to capture one moment in time. You can only choose one. I do it and I continue with the following “What if”.

When I go to bed after a full day photo-shoot, many of those ‘What if.. I did something different about that one” come back to me.. and I try hard to let go.

It seems that photographers, just like painters, musicians, and writers, hope to elicit emotional reactions in their audience. Do you think about what sort of response you want as you take photographs, what you hope the photo translates to the viewer?

I hope that every one of my images say “I feel alive”.

Have you ever been surprised by someone’s emotional reaction to a photograph?

Yes, many times. It was precious.

Do you have a preference between taking photos of landscapes, still life, animals, people, etc.? What draws you to that specific preference?

Professionally, I love capturing people when going through strong emotions. Weddings are the best for these. My favorite moments are when the bride walks down the aisle and when the bride dances with her father.

Personally, landscapes & natural events that show how alive the earth is.

Have you ever thought about why photography speaks to you over other art forms?

I’d say that photography can speak to you in a particularly intimate way because this can bring back and revive a real moment from the past, but this time it’s frozen, for as long as your mind wishes, allowing you to explore it, relate to the subject, and think about the possibilities. Even though it doesn’t exist any more. It can contain plenty of visual information to be decoded.

But I’d say that Video can speak to you over other art forms.

What are one or two questions that you wish someone would ask you about photography?

Personally, what do you love and don’t love of being a photographer?

I love to capture life for my clients to remember it, but I don’t love feeding people’s vanity.

Thanks, Jane, for taking the time to feed my curiosity. If anyone has questions for her, you can post them in the comments below or contact Jane directly through her website, noted above.

I called this post ‘Part 1’ as I’m hoping to convince another photographer friend, who has a different type of photography business (think on the yard line face to face with Seahawks) to answer similar questions.

Mistaken Identity

‘Mistaken Identity’ is the writing prompt of the day.

A friend posted a photo of us from back in the 1970s. In looking at it, I realized I have lived a life of mistaken identity. And not only lived it, but worked at making it a reality.

Once there was a writer in a cabin.

Once there was a writer in a cabin.

Have you ever done that? Had such a strong inner vision of something that the reality ceased to exist? Or that you never knew there was an alternate reality, maybe a reality you wouldn’t have believed in, or still don’t believe in?

Once there was a writer who hiked.

Once there was a writer who hiked.

Do you look into your past and wonder at the things you knew were true, only to now realize that truth was something you created?

Or do you look back into your past and realize that truth can be pulled forth and carefully molded, fine-tuned into exactly the reality you want to carry along on the road of life?

No writer ever did this. Nope. Nosiree bub...

No writer ever did this. Nope. Nosiree bub…

Maybe what we envision as self now, will some day prove to be yet another case of mistaken identity. Is that what personal growth is? Or is just that we continue to fool ourselves in new ways?

It’s possible I’ve been mistaken about my identity for all these years. But what is more likely is that there’s never been mistakes, just changes.

And now I challenge you to the writing prompt. What does ‘mistaken identity’ mean to you?

Rock Art

Rock Art