Tag Archives: Christopher Agostino’s Transformations

Why Body Painting? — 4: Radical Act — The essential celebration of our humanity / the ultimate modern art

by Christopher Agostino. 11/29/2011

Traditional Significance: in cultures with profound traditions of bodypainting it is a celebration of the beauty of the human form. Among the Southeast Nuba the most elaborate painting is reserved for the young men in their prime health and youthful vigor. In the highlands of Papua New Guinea the brightly colored body-decoration presents a heightened self-image, an idealized form beyond the individuals’s daily persona.

Primal Transformation: anthropologists now point to the use of symbols and the beginnings of art as the igniting evolutionary spark of modern humanity, the defining impetus of the final great leap from animal to human— we are the symbolic species. And, as likely as not, that first act of art was to paint ourselves.

Radical Theory: to paint a body today is a profound expression of that which makes us human, transcending the boundary of our physical, animal form through the act of making ourselves into art, into the essential celebration of our consciousness — reaching back to our origins through the most traditional of all art forms while startling the modern viewer with the acknowledgement of our naked identity as human animals.

Traditional celebratory bodypainting from Papua New Guinea

Why does a painted, naked body evoke such a response? How can the most ancient of art forms be so surprising today?

I venture to say that a painted, naked body would be more disturbing in effect on an unsuspecting viewer than a body merely naked. A naked body is more readily comprehensible and our reaction more easily determined, or perhaps pre-determined, depending on the brand of morality we bring to the occasion. A fully painted body is less easily definable. It is both naked and clothed, both primitive and civilized—evoking the quality of “disturbing strangeness” as described by Freud, an uncomfortable reaction to “the return of what we have driven back” as we moved from tribal to modern culture. As relayed by Michel Thévoz, Freud was talking about why a member of modern society reacts so strongly, so negatively, to the painted faces of “primitive” people. I think there is an additional element of confusion, an additional uncertainty in how to react, when that unsuspecting modern viewer is confronted by a live example of full fine art bodypainting, because in addition to an apparent return to the primitive (a naked painted body) there is also the apparent elevation to higher culture (as that body has become art).

To continue in an overreaching, radical vein, I can make the argument that bodypainting is today an art form which is capable of fulfilling the quest of the artists 100 years ago who threw out the academic conventions to create “Modern Art” in order to re-establish the ability of visual art to challenge society, compel emotional response and shock the viewer into paying attention—in order to return art to it’s original function, the function art has in primitive cultures, of defining our humanity and raising individual and social consciousness.

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So to bring this back to the question “why body painting?”, as in “why do I paint bodies?” The simple answer is because its effective. To think that bodypainting presented in a modern context is capable of functioning in the same revolutionary way as the radical art of the early modern artists is not to say that I paint bodies in order to be the next Picasso. I do however find that artistic bodypainting (and facepainting, for that matter) have an effect on consciousness in a local, immediate sense both for the person you paint and for the people that see them. When you paint someone at an event, it injects a quality of magic, of mystery, into our modern civilized lives. In returning a glimpse of the primitive, it allows for questions about human identity and the permanence of form, and in that way it touches upon the original, transformative power of art.

the real thing

the student work

Learn more at my Body Painting Page https://thestorybehindthefaces.com/body-painting/

And read the related post:

is a painted body naked?  https://thestorybehindthefaces.com/2011/04/15/is-a-painted-body-naked/

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Why Body Painting? — 3A: Origins — Why did we start painting ourselves? Ancient bodypainting kit discovered at Blombos Cave

Abalone Shell from Blombos Cave- Credit: Science/AAAS

by Christopher Agostino

“Archaeologists in South Africa uncovered two 100,000-year-old abalone shells and assorted bones and stones that served as toolkits to make some sort of ochre-based compound. The mixture may have been used as a paint or adhesive. It’s the oldest evidence of humans making a complex compound, and even the oldest evidence of humans using containers.” – from LiveScience article (see article link below)

What I am quite willing to label as “the oldest bodypainting kit ever” was recently discovered in Blombos Cave in South Africa. 2 abalone shells with remnants of ground reddish ochre pigments that had been mixed with some kind of binding agent or liquid, found with implements for grinding the pigment and mixing and applying. Sounds like a makeup kit to me. 100,000 years old—which puts it maybe 40,000 years earlier than any other such discovery, and 20,000 years earlier than that etched ochre stone from Blombos considered the earliest existent example of symbolic art. Blombos Cave is a story in itself, and I’ll get to that below.

But first the question: if 100,000 years ago our earliest ancestors were mixing paint, what were they painting? My perspective makes me confident they were mixing pigments to paint themselves—ochre pigments like these are still used as traditional bodypaint in some places  (although ochre was also possibly used as an ancient adhesive). The anthropologists that make the case for bodyart that long ago point to evidence such as ochre pigment found on bones in burial sites, the universal use of bodyart in tribal cultures and the general rule that when humans appear in ancient art, such as rock paintings, they are depicted with markings like bodyart on their forms, or with animal masks or other transforming imagery. The ubiquitous silhouette hand images that appear in cave art around the world would have been made by placing your hand against the rock and blowing ochre pigment onto it—probably through a hollow reed, the first air-brush—that would paint your hand as it made the silhouette on the wall. One researcher found that if he took the patterns of symbols on isolated sections of a certain painted cave and transferred them to a body they would wrap around in a repeating pattern, as if the cave painter had used his own body markings as the source of the design. In The Painted Body, Michel Thévoz says that the one universal constant in pictorial art is objects painted in a symmetry that follows the morphology of the body: “It is as if the artists of the most diverse tribes and people had all proceeded by transferring onto the wall…or whatever the object being painted, a composition originally conceived as a face or body decoration.” My own view is that art is intrinsically a statement of identity, and our bodies are our most personal vehicles for self-identity, so art has always been linked directly to our bodies, to how we present our self-identity.

The second question is, why did we start painting ourselves? There is no way to know this one. Since I like stories, I think about it in those terms, but one thing to remember is that we are talking about cultural developments that would have happened over a course of many generations and perhaps thousands of years. Craig Tracy once told me a story of how he imagined bodyart may have started, with a couple of our ancestors fooling around. One gets a streak of mud on him and it strikes the other as funny so he laughs. The first one says, oh yeah and puts bigger streak on the laughing one, leading to a mud fight in which they are both laughing and all marked up. The fellows back at the cave get a kick out of it and start playing the game too.

I’ve wondered if it didn’t begin very practically, as camouflage, marking the skin to blend into the dappled forest, or striping it to hide in the grasslands. And then I can imagine how a successful hunter might stylize the markings and wear them as a status symbol, and I can see that over time leading to an establishment of symbolic skin marking as vehicles for individual status and tribal identity. Camouflage and enhancing sexual attraction are both found as reasons in the animal kingdom for creatures that alter their appearance, changing color or decorating themselves. It’s also occurred to me that as a species we humans are relatively dull looking, no spots or stripes, feathers or bright colors, and as we came to be increasingly self-aware we may have begun to decorate ourselves as an aesthetic act, and as an exploration of individuality within the group.

We really can’t know anything for sure about anything going that far back. In his writings on origins of human culture,  Joseph Campbell makes the point that so much of our theories are based on what survives  as opposed to what doesn’t—really only rocks and bones survive from truly ancient times, and only those in protected places, buried in caves. We have no surviving evidence for what art we created on wood or animal skin, or our own skin. The earliest cave wall paintings, like Chauvet Cave, are already so technically and aesthetically sophisticated that we must have done a lot of painting before painting them. 

Blombos Cave - The entrance to Blombos Cave, indicated by the white arrow, about 180 miles (300 kilometers) east of Cape Town. Credit: Magnus Haaland

As for Blombos Cave, it’s better to get the real anthropology from the real anthropologists, but from an artist/storyteller’s perspective, here is one of the most amazing stories there could be to tell, perhaps the primal story: Comparative DNA and other studies of people all over the world indicate that we are all descended from one small band of ancestors. Though there were numerous early human species millions of years ago and many migrations of such species, eventually all of those other species came to an end. All of us, all modern humans, come from one isolated group which arose in Africa, multiplied and gradually filled the world through migration. It was this one group that made the “great leap” and achieved that final spark of intelligence and consciousness that makes us who we are. Although this one ancestral group was part of a much larger population of early Homo Sapiens, about 140,000 years ago glaciers covered most of the world and massive droughts hit Africa, remaining over the course of thousands of years, until the only surviving Homo Sapiens populations were withdrawn into the few remaining habitable sites in Africa. Researchers theorize that the struggle to survive in such difficult climatic conditions accelerated the development of these ancestral humans—to survive they required greater intelligence and ingenuity, and the ability to pass increasingly complex information from generation to generation.

Discovery-The excavation site at the time when the 100,000-year-old toolkits were uncovered Credit: Science/AAAS

Along one such remaining habitable place, the Pinnacle Point region of South Africa, caves (like Blombos) have evidence of a long period of human occupation which remained continuous through that difficult climactic period, and anthropologists, going back in time as they dig down through the layers of artifacts, see in this area a timeline of progressive human development from a technology equivalent to our Neandertal predecessors through to increasingly complex developments seen at this site tens of thousands of years earlier than at any other site in the world, including the earliest indications of art and symbolic activity, such as the pigment processing from 100,000 years ago.

Perhaps 60,000 years ago, as the world climate improved, this new type of human began to spread around the world, carrying with them an ability to understand and re-imagine the world through art and symbology. As an amateur folklorist I’m aware of how many underlying aspects of world cultures seem related, how many folktales touch universal themes, and I imagine that these earliest ancestors also carried with them a fundamental human culture of art, music and stories.

Ancient Tools- One of the abalone shells with the quartzite grindstone found nestled inside. Credit: Grethe Moell Pederson

Shell Toolkit- The other abalone toolkit under excavation Credit: Science/AAAS

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Learn more about my work at my Body Painting Page https://thestorybehindthefaces.com/body-painting/

Why Body Painting? — 1B: Collaboration in Action — UV Action Painting with Emma Cammack and Carolyn Roper

by Christopher Agostino

Hey, I’ve got a barn, let’s put on a show! I was in the 4th or 5th grade the first time I got the neighborhood kids to put on a  show in my backyard. For me, there’s really nothing else like the excitement of being on a stage creating and feeling an audience move with you. Sharing that adventure with colleagues makes it more fun. And when the performance itself is like kids playing in a backyard, that has to make it the most fun thing I’ve done yet as a bodypainting performer.

From Bodies Alive! at FABAIC 2008, UV Action Painting with Emma Cammack, Carolyn Roper and me:

A convention audience at the grand finale party is really ready to have a good time, and our audience was very responsive throughout the whole Bodies Alive! show, which made it a pleasure to be on stage.

Even more fun than the UV Action performance was the rehearsal, which was true playtime, like kids having a paint fight. I’d never done a backlight show before, though I’d seen them and knew we weren’t inventing anything here — in fact the idea for making the models appear as we painted them came from Raphaelle Fieldhouse (another world class bodypainter) who had previously described to me a performance she’d seen at the World Bodypainting Festival. So I was confident it would work. In the rehearsal we just had to learn how. Putting a full show together over three days around everyone’s schedule at a convention is a tough task (and I’m really grateful it was my wife Lorraine in charge of the whole production, and not me) so we only had one shot at trying the scene on stage under backlight the day before the show.

Emma, Carolyn and I got ready to rehearse in our all black “ninja ant” outfits, so we wouldn’t be seen under the backlight. We got the models (Jacki, Nick and Emily) onstage with us, talked through a rough choreography, turned on the backlights and started painting — and we had just so much fun using this glowing paint to make the bodies take form: we streaked them with brushes, splattered them, painted with our hands on the models (and each other), sprayed them with Dayglo hairspray — and it all looked so cool. Watching this might be fun, but doing this is really, really fun.

It was also a relief, and very satisfying, to discover we could do it. Lorraine was working so hard to pull the show together I was glad to be able to tell her that I was sure this scene would succeed, and she didn’t have to trouble herself about it. We also learned some stuff in the rehearsal, like just how much of a mess three painters can make fooling around, and that we’d have to take some time to pull the plastic drop cloth carefully off the stage before the next scene. Thus was born Carolyn’s ninja ant dance to entertain the audience as the models withdrew and we cleared the drop cloth.

A big part of the success was the makeup. Kryolan’s UV Makeups are so bright under blacklight, and so easy to apply, that we didn’t have to think much about technique at all. We could just paint. Kryolan, and my friend Joe Korts, have been very supportive of my bodyart career, and in this case Joe really came through by supplying all the UV makeup we could possibly need for the show. He sent it to me in NY before the convention, so I was able to try some application ideas, figure out which brushes we’d use and work the makeup into the right consistency so it could go on quickly and have the maximum glow — I wound up working it into a much thicker liquid than I usually would for regular painting, almost like a thin paste.

A word about what it meant for me to do this with Emma and Carolyn — and that word is “confirmation”. When I came to the agreement with Marcela Murad (the producer of the FABAIC convention) for Lorraine and me to stage a show for their banquet using the talents of the instructors and other artists at the convention, I was concerned about whether the other artists would like the idea and, given that I am not an award-winning artist or working at that level, whether the big name artists would want to commit their time to a show I was in charge of. As soon as we made the agreement, the first two artists I contacted were Emma and Carolyn. I had met them both but didn’t know them well, and I was absolutely thrilled to get enthusiastic replies from both of them. At that point I felt confident that if these two talented and top-notch professionals were willing to join in that others would follow and the show was sure to succeed  — it confirmed for me that I wasn’t out of line to ask my colleagues to collaborate with me on this project. In the end many of the convention instructors joined in, contributing original designs as well as their painting time. On the day of the performance, there was so much painting and preparation to be done we had a cast and crew totaling about 70 people, and it was wonderful to see a number of additional artist and volunteers coming on to lend a hand with the painting.

Body painting affords these opportunities for collaboration because it stands in the confluence of visual and performing arts — so this is one of my personal answers to “why body painting?” An even stronger answer is that I keep body painting because I am still waiting for a chance to do another UV Action Painting with the ninja ants.

Three great artists:

Emma Cammack   http://www.emmacammack.com/

Carolyn Roper  http://www.getmadeup.com/

Raphaelle Fieldhouse  http://www.bodycanvas.co.uk/

And a great makeup:

Kryolan UV Aquacolors   http://www.kryolan.com/en/index.php

For some insight on how to use them, see my instructors notes from FABAIC 2011:

https://thestorybehindthefaces.com/2011/06/02/how-to-use-uv-dayglo-metallic-and-interferenze-makeups-fabaic-2011-class/

Learn more at my Body Painting Page https://thestorybehindthefaces.com/body-painting/

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