Art Documented: Collaborative

Phil and I are back at it again. This collaboration has been really amazing for both of us. It is rare to find such chemistry between two artists and we are learning a lot from our differences. We have also been drawing portraits of each other which has been a great learning experience.

This next series of three paintings has a theme. We took the three main images from one of my favorite pieces of prose from Rainer Maria Rilke's letters. The text can be found in Letters to A Young Poet. Phil is now a converted Rilke fan after reading the book!

Below you will find the text corresponding to the three images which are: The Man Dizzy on the Mountain, The Person Who Stays in the Corner of Their Room, and The Dragon Princess.

To speak of solitude again, it becomes always clearer that this is at bottom not something that one can take or leave. We are solitary. We may delude ourselves and act as though this were not so. That is all. But how much better it is to realize that we are so, yes even to begin by assuming it. We shall indeed turn dizzy then; for all points upon which our eye has been accustomed to rest are taken from us, there is nothing near any more and everything far is infinitely far. A person removed from his own room, almost without preparation and transition, and set upon the height of a great mountain range, would feel something of the sort: an unparalleled insecurity, an abandonment to something inexpressible would almost annihilate him. He would think himself falling or hurled out into space, or exploded into a thousand pieces: what a monstrous lie his brain would have to invent to catch up with and explain the state of his senses!

So for him who becomes solitary all distances, all measures change; of these changes many take place suddenly, and then, as with the man on the mountaintop, extraordinary imaginings and singular sensations arise that seem to grow out beyond all bearing, But it is necessary for us to experience that too. We must assume our existence as broadly as we in any way we can; everything, even the unheard-of, must be possible in it. That is at bottom the only courage that is demanded of us: to have courage for the most strange, the most singular, and the most inexplicable that we may encounter. That mankind has in this sense been cowardly has done life endless harm; the experiences that are called "visions," the whole so-called "spirit-world", death, all those things that are so closely akin to us, have by daily parrying been so crowded out of life that the sense with which we could have grasped them are atrophied. To say nothing of God.

But fear of the inexplicable has not alone impoverished the existence of the individual; the relationship between one human being and another has also been cramped by it, as though it had been lifted out of the riverbed of endless possibilities and set down in a fallow spot on the bank, to which nothing happens. For it is not inertia alone that is responsible for human relationships repeating themselves from case to case, indescribably monotonous and unrenewed; it is shyness before any sort of new, unforseeable experience with which one does not think oneself able to cope. But only someone who is ready for everything, who excludes nothing, not even the most enigmatical, will live the relation to another as something alive and will himself draw exhaustively from his own existence. For if we think of this existence of the individual as a larger or smaller room, it appears evident that most people learn to know only a corner of their room, a place by the window, a strip of floor on which they walk up and down. Thus they have a certain security. And yet that dangerous insecurity is so much more human which drives the prisoners in Poe's stories to feel out the shapes of their horrible dungeons and not be strangers to the unspeakable terror of the abode.

We, however, are not prisoners. No traps or snares are set about us, and there is nothing which should intimidate or worry us. We are set down in life as in the element to which we best correspond, and over and above this we have through thousands of years of accommodation become so like this life, that when we hold still we are, through a happy mimicry, scarcely to be distinguished from all that surrounds us. We have no reason to mistrust our world, for it is not against us. Has it terrors, they are our terrors; has it abysses, those abysses belong to us; are dangers at hand, we must try to love them. And if only we arrange our life according to that principle which counsels us that we must always hold to the difficult, then that which now still seems to us the most alien will become what we most trust and find most faithful. How should we be able to forget those ancient myths that are at the beginning of all peoples, the myths about dragons that at the last moment turn into princesses; perhaps all the dragons of our lives are princesses who are only waiting to see us once beautiful and brave. Perhaps everything terrible is in its deepest being something helpless that wants help from us.

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