Tag Archives: face painting

Why Body Painting? — 3: Origins — Touching Ancient Sources

“Chauvet Lions Watching”

by Christopher Agostino

At the core of my approach to bodypainting is my continuing exploration into its traditional sources and cultural functions. Just as a painter on canvas studies the masterpieces of the past to find his own way forward, I study the images and significance of traditional bodyart as a foundation for my work. Searching for an understanding of how and why we paint ourselves leads back to the origins of our humanity and our most ancient art. Whenever I paint someone I am aware of my small place in this vast tradition, one more human seeking to understand how our art can transform us. Although bodypainting is ephemeral, its legacy is timeless.

The Transformation Lecture – click here

This is a primal part of the story I’ve told myself to keep myself painting, that “before we ever painted a cave wall, we painted ourselves…” — my slogan. Going back 30 years when I was first trying to convince people that facepainting could be an art and not just something that clowns did at kid’s parties this was  an important part of my argument.

You search for validation when you are working in a fringe art form and I continue to get jazzed seeing moments like the one in the PBS Nova episode “Becoming Human” where, just as they are describing the final evolutionary shift that made us the humans we are today they are showing a re-enacted image of an ancient human painting themselves. Or the book How Art Made the World: A Journey to the Origins of Human Creativity by Nigel Spivey, which makes the case that it is our ability to conceive, record and understand symbols (through language and art) that lifted us above the animal state—”we are the symbolic species”—and he also points to our own skin as the original canvas for these social symbols.

Our skin is the physical edge of who we are, the place where we touch the world, and so, as we first gained self-awareness, that spark of consciousness that makes us human, we marked our new awareness onto our skin to tell the world who we are.  And that is a fine answer to the question “Why Body Painting?”

In The Mind in the Cave, David Lewis-Williams  presents a timeline of the development of ancient art and culture. Cave paintings go back about 32,000 years, but art is older than that. The image here of the etched ochre rock from Blombos Cave from 77,000 years ago is considered the “earliest art object” yet discovered, and  there is evidence of ochre colored earths being processed to produce pigment from much earlier. Pigments derived from ochre are still used as traditional body paints. It’s discovery radically reorganized anthropologists’ understanding of the origins of humanity, and the place in our collective history of our ancient  ancestors at Blombos Cave is a truly remarkable story, as depicted in the PBS “Becoming Human” series. See also the links below for more information, including the incredible recent discovery of what might be the earliest facepainting kit ever.

The bodypainting at the top uses imagery from European cave paintings that are 10,000 to 32,000 years old, and I painted it several years ago. Ancient sources, modern inspiration for this bodypainter.

30,000 year old cave painting from the Chauvet Cave

One of the most inspirational art exhibits I have seen in many years was in a movie theater watching Werner Hertzog’s 3D film of the Chauvet Cave in France, The Cave of Forgotten Dreams. Seeing Hertzog’s film, I experienced art that is as great as anything I have ever seen in a museum, both in the technical quality of the painting (as Picasso said upon seeing similar cave paintings: “we have learned nothing!”) and in the depth of response it requires from the viewer. Through Hertzog’s fantastic use of 3D to bring the physical shapes of the painted cave walls to life, and dramatic flickering “torch-light” effects to recreate the experience of the original audience for these paintings, I could imagine myself there and understand how, at our origins, art was a driving transformational force.

See  Talking Art  to learn about my stage presentations on the origins and history of the art of transformation. See also my Bodypainting gallery .

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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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