Tag Archives: Papua New Guinea

From a Mask to a Painted Face — Face Painting from Cultural Sources

Geo Magazine, 1980, contained a few dozen photographs of Chinese Opera faces

Painted in 1983. In addition to learning to blend from copying a design like this, these Chinese Opera faces gave me an understanding that facepainting can be a true art, truly transformational, and not just a decorative art.

By Christopher Agostino

Taking a mask image from a cultural source and painting it onto a face is a primary methodology I use for expanding my understanding of what is possible on a painted face. My first steps in that direction were 30 years ago with Chinese Opera faces I saw in an issue of Geo magazine. When I start with images like these that are already makeup designs and re-create them on a face the lessons I am learning are primarily about finding new ways to fit designs to the structure of a face, a new range of imagery, and exploring different application techniques — for example, it was as I tried to imitate the way the red over the eyes fades into the white on the check in this Chinese Opera image that I first learned how to blend — and from Chinese Opera designs I moved onto similar explorations with other cultural sources of painted faces such as those from the Amazon and Papua New Guinea.

Paul Kirk's book "Man as Art" is an inspirational and definitive statement about he remarkable possibilities of bodyart in world cultures.

One of the earliest truly tribal designs I painted on a person (an adult) in a regular party setting - at a corporate family picnic in 1996

A different process is required — and different lessons learned — when the traditional image I start from is a physical mask rather than face or bodyart. Re-creating a physical/sculptural mask as a facepainting brings different challenges because you have to somehow transfer onto the organic shape of a human face the plastic form of the mask, such as the exaggerated geometric shapes on certain African masks, or the extended beak of a wooden Haida thunderbird mask. Here are lessons to be learned about how to place hard shapes on a softly curved face, and to create illusions that seem to alter the structure of the face. I think that the most useful lesson I’ve gleaned from trying to re-create a sculptural mask design, however, is in learning how to boil a mask down to its essence. Since I can’t really duplicate the full mask on a face, what can I achieve with facepainting that has the same impact as the physical mask?

“Spirit masks” is a somewhat generic descriptive term applied to masks from a variety of African cultures worn to bring supernatural spirits to life in traditional rituals. Such masks are intentionally bizarre in appearance with the features of faces and animals distorted into geometric shapes and graphic patterns. Since I can’t make eyes that are cylinders sticking 8″ off the face using just makeup, I’ve had to translate that idea into what I can do, so I’ve focused on using strong geometric linework to make the face startling. As I’m about to start a design like this on a kid I may ask them if it’s ok for me to make them look really, really strange — and usually get an enthusiastic “yes”.

An early attempt at a Spirit Mask, from the event at the Bronx Zoo in 1999

Another early attempt at a Spirit Mask

I have found the complexity of the masks of Native American Northwest Coast (NWC) cultures the most challenging to re-create. Part of the struggle is due to the intricacy of the symbolic imagery on the masks. Whereas masks like the African “Spirit Masks” primarily employ geometric signs and patterns to carry symbolic content — patterns which be simplified and imitated to have the same visual affect even if they don’t have the precise cultural content — NWC masks employ recognizable and pictorial animal imagery much more difficult to duplicate simply.  A traditional NWC mask-maker learns very specific forms to symbolize the mythic characters they depict — such as the precise shape the eye must be for Kwikwis, the eagle of the undersea in the Kwakiutl culture. As Franz Boas states in his book Primitive Art, once the proper symbols are included the artist’s concern becomes the unity and aesthetic achievement of the overall design, and they do it with a remarkable finesse of design style, beautifully fitting the complex imagery onto the shapes of the mask. Like African masks, and the masks of so many cultures, the NWC wooden transformation masks are sculptures worthy of the museums where they sit in cases and hang on walls, but their true raison d’être is just the same as the “Spirit Masks” — to be worn in performance at rituals to bring the gods and myths to life.

I had quite a number of examples available of faces painted at events for the article in my book on African “Spirit Masks”. We spent the summer of 1999 at the Bronx Zoo painting faces inspired by traditional African art for the opening of the Congo Gorilla exhibit, and this style of design has been part of my usual bag of tricks ever since. For the article on Northwest Coast masks, however, I had few examples from faces at events, and none that were successful, so I painted a model in my studio for this one. There is a fundamental cosmology the underlies much of NWC mask culture, and it includes the concept that there was an earlier time in which celestial beings lived on earth and then departed to live in the heavens. These celestial/ancestral beings can return to earth in the guise of humans, and they are depicted in these masks both in their celestial form and in their human form, which is dramatically demonstrated in ritual performances in which these wooden transformation masks will open and alter their shape through ingenious devices to show first the ancestral being and then the inner human. In the NWC coast example for my book, I relied on the humanity of my model (as we facepainters do) and her eyes to exemplify this concept of transformation, from celestial eagle to the eagle in human form.

The Eagle in celestial form, inspired by Northwest Coast Indian culture transformation mask

The Eagle in Human Form

From the Nuxalk culture of the Pacific Northwest, the closed image depicts a celestial bird figure of some sort.

When the mask opens during the ritual performance, revealed inside is the figure in human form (notice how the beak for example is now depicted more like a human nose), and the humanized bird-face is surrounded by a sun-like orb indicting its celestial nature.

Edward Malin's book "A World of Faces: Masks of the Northwest Coast "includes very useful simplified analytical sketches of the traditional mask elements

An early Spirit Mask attempt in which I used this geometric approach to create a specific animal, a baboon face

More recently I have been making Spirit Masks that are more deliberately spooky, and not just strange

The first third of my book, Transformations! The Story Behind the Painted Faces, chronicles my investigation of cultural sources of face and body art, and how I have incorporated those discoveries into my work.

To learn more go to: https://thestorybehindthefaces.com/books/

To learn more about our programs and performances:  http://www.agostinoarts.com

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Is a painted body naked?

by Christopher Agostino

Is bodypainting just a way to get naked women out in public? I saw the promotional film for a documentary in the works that’s about bodypainting as a fine art, and in it an artist takes real umbrage when the filmmaker asks him if bodypainting exploits women. Although I sympathize with the artist’s annoyance with the question, since we work in a field that is too often represented by disturbing images from Key West showing up in your emails, or lots of naked painted people on bicycles, I can understand why an interviewer would ask it. In a group discussion a few years back with the genius behind Pro-shields (designed to protect the innocent by thoroughly covering nipples on female models to be bodypainted) the question turned to why such trivial items as whether the outline of a nipple is visible or not under the paint can determine whether people find bodypainting offensive or not. I heard a phrase often repeated that in body art the painting is what is meant to be looked at, not the body, and that folks that are just seeing (or voyeuristically enjoying) the nakedness of the body are missing the art. Speaking as a bodypainter who puts painted people (male and female) into the public view, I think this is disingenuous and it puts too much of the burden on the viewer when it is us, the body artists, who choose to present this as our art. Bodypainting is certainly not clothing, and therefore does not objectively remove or cover the nakedness of the model, however much it transforms their identity (and I do feel that a well painted body looks more fully clothed than, say, a women in bikini at the beach). Clothing protects the body and it changes and disguises the shape of the body. Bodypaint celebrates the body, specifically it celebrates the beautiful form of the human body — or we would be painting on flat canvas instead. So when someone looks at the model we have painted they should be seeing the model, the body, as well as the art.

Painted at the Face and Body Art International Convention, 2009, on a beautiful model.

The idealized human form in Greek and Roman art — naked.

In Western Culture the veneration of the human form is exemplified by the prevalence of the naked body in art and painting, which goes back to the Classical Greek conception of the naked human form as being the symbolic representation of the perfection of Nature. Athletes, we are told, competed naked in the ancient Olympics. In fact, as the influence of the Classical Greek culture spread, body arts declined in Western Cultures because the marking of the body was seen as a disfigurement of the perfect form of the naked body. Perhaps it is a sign of our continuing cultural progression that bodypainting has begun to enter the main stream of public perception again, for this is an art form that reaches beyond the Greeks. The return of body art into Western/European Culture is a world-inspired expansion of our understanding of art.

The tradition of celebrating the human body continues in Western art

The underlying reasons for traditional body art — meaning the use of bodypainting, tattooing and scarification in traditional cultures — are in its social and ritualistic functions. As cultures evolve over time, these ritualistic functions gain aesthetic values as well, they become art. In “Primitive Art”, Franz Boas writes about how, once the symbolic requirements of the mask (or bodyart) are achieved, the mask maker’s goal is to make the object beautiful  — the “artfulness” is always important.  When we look at cultural examples in which body art has progressed past ritual to the point where it is done for more purely aesthetic reasons, when it has become a “fashion”, at the foundation of those acts is a desire to celebrate the innate beauty of the human form. Through art, to pay homage to what God (or Nature) has made when he made man. This is the cultural explanation for what is perhaps the most profound use of body art that can be sited: the body painting of the Southeast Nuba culture of Sudan, a tribal culture in which individuals turned themselves daily into living, painted works of art as a veneration of the wonder of creation, demonstrated in the perfection of the human form. This was done when the individual was in their youth, their prime, their bodies in peak form. The older or the infirm did not paint themselves. 

“Whatever the source of the designs used on the body, the critical factor is that the body must be emphasized, complimented, enhanced. No design or artistic treatment must distract from the presentation of the physical form itself  the chief reason, after all, for the personal art rests in the proper cultural exposure and celebration of the healthy body.” — James Farris, Nuba Personal Art

I compare this to our modern body artists, and suggest we should own up to it. If we are not celebrating the beauty of the human form when we paint bodies, why do we predominantly paint ideally shaped models, female or male?

This is not an exploitation of models, women or men. No more than Alfred Steiglitz was exploiting Georgia O’Keeffe in his photographs. This is a celebration. This is art. This is art painted on naked people, and there is nothing wrong in that, because people are beautiful whether they are naked or not.

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

To learn more about our programs and performances:  http://www.agostinoarts.com

follow me for the face of the day:  https://twitter.com/#!/storyfaces

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Traditional Facepainting – World Masks Workshop

by Christopher Agostino

This week brings an opportunity for teaching a group of High School students how to paint faces. In conjunction with a performance of Before Cave Walls…The Transformation Lecture, I will be doing a hands-on workshop with a group of art students who will then have the pleasure of painting several classes of elementary aged students. We present these programs in schools within a cultural context, and so the face patterns I will be bringing into these workshops are traditional designs from world cultures.

Click on this link for the pdf guide sheet for this World Mask Workshop WorldMasks_facepainting_agostinoarts

From the magazine article that first fired my imagination about painting faces based in cultural traditions

Choosing which cultural examples to present students is always a conundrum. There is an infinite wealth of source materials, and I recognize that the limited selections I present may seem to represent a much larger world than they can. The examples I present in a workshop setting are different than those I might demonstrate in a lecture performance, as I want to give them designs that a novice facepainter can emulate. (For example, in presenting this program to experienced makeup artists I will include the classic female role face from the Chinese Opera which requires a facility with blending colors that is difficult for beginners.) I also use examples with minimal pictorial imagery because I want the students to work free from the idea of trying to create a realistic portrait of an animal or such. The less complicated the design examples, the more they can focus on what it feels like to transform a human face. And that is the primary goal of this workshop, to give these students the experience of being the mask maker.

Here are the 6 faces I am using as the key cultural examples.

Amazon: A Mayoruna matriarch wearing markings and whiskers signifying a powerful cat like a jaguar

Africa: Surma people, from the Omo River area of Ethiopia.

Papua New Guinea: Example of traditional face art from a highlands culture, painted for a festival

Native American: Portrait of “Fast Dancer” of the Iowa culture, by George Catlin, with the hand symbol signifying he is a warrior

Africa: An example of the asymmetrical bodyart of the Southeast Nuba, Sudan.

Japan: The “suji-kuma” pattern to portray a samurai

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See a video and images from the workshop:  World Masks – Facepainting Workshop