The Workings of Time and Space in the Paintings of Archibald Motley

I found some short essays I wrote for a graduate Jazz course I took at The University of Vermont - taught by jazz scholar John Gennari. Since I have not posted anything to my blog in a while, I thought this would be fun.

Archibald F. Motley’s painting After Fiesta, Remorse, Siesta, is a beautiful visualization of jazz.  

 

It is a painting that reflects jazz culture while speaking to the lonely figure. At first glance, the blue tones empower the entire painting, creating a feeling of melancholy. But the eye then notices pink/reddish tones, such as the naked woman’s reddish colored jacket resting on a chair, and her red shoes on the floor. 

Motley uses dichotomies within this painting to create an ethereal feeling For example, he contrasts the woman at the piano with a portrait on the wall of a matador fighting a bull—suggesting a masculine/feminine dichotomy. In the background, a couple is embracing by a street lamp. In the far corners of the lamp post are the dangerous cactus and the soothing palm tree, adding to the abstract and surreal feeling of the image. 

The crowding of images in the foreground while leaving open space in the background is another motif of Motley’s work. Motley positions the patrons who are having a good time in the foreground, very close to one another. The lonely or aloof figures are positioned in the background.

For example, in the painting Barbecue, the patrons are having a good time at the tables in the foreground. In the background, the space is more open and only a few patrons dance.  Also framed near the fence in the far distance is a man, alone, looking down with his hands in his pocket.

 
Motley positions the aloof characters so it takes time for the eye to recognize them in the painting's space. Because the eye is not quickly drawn to the lonely man in Barbecue, the painting suggests that the patrons do not recognize this man. The man is not only absent from their enjoyment, but seems to be unstuck from the painting's time and space.

Similarly, in After Fiesta, Remorse, Siesta unexpectedly to the right center is a man asleep with his head in his hands. Once the eye catches this man, one has to rethink the time and space of the painting. Did this mysterious man’s attempt to meet a woman prove futile? Or are what we are seeing in the painting is his actual dream?

Twin Peaks

I started watching the Twin Peaks television show - can't believe I never watched this when I was in High School. I've seen almost all of Lynch's work accept for this. Lynch is great at subtly interjecting the strange, surreal, and even the supernatural into the narrative while, at the same time, balancing the realm of everyday life. 

Like the mysterious ear Jeffrey Beaumont finds in Blue Velvet, the death of Laura Palmer has disrupted the safe and peaceful rural world of Twin Peaks. What we find in Twin Peaks is bizarre entities occupying the corporeal world. But this is not like the Star Trek episode "Return to Tomorrow" where Spock and Kirk find a planet of intellectual minds stored in sphere balls and are looking for bodies to temporally occupy in order to construct artificial bodies they will soon house. 

In Twin Peaks, the spirit of Bob, (the Frank Booth of the series) is to move from body to body in order to continue his serial killer like wrath. I guess that's all I can say...because I have not finish watching the series. Twin Peaks, in many ways, reminds me of how great of a TV show Mulholland Drive could have been.