Building Castles.

castle1

I first heard about James Castle at the Outsider Art Fair on Houston Street almost twenty years ago.
A gallerist told me a story that lodged in my brain, one of those stories that I may have misheard and embellished but still seems so touching and relatable that most of it had to be true.
The story was that James was a deaf mute who one day started to make art. He lived on a tiny farm in a remote part of Idaho and knew nothing of the Art world beyond. He taught himself to make art, using home made art supplies. He would draw on any piece of cardboard that came to hand — many of my favorite pieces were on the backs of unfolded ice cream cartons. He made his own ink, mixing soot from the wood stove with his own spittle. He soaked the pigment out of crepe paper to add color to his paintings. He drew with sharpened sticks.
What I remember most vividly about James’s story was his subject matter. Profoundly deaf and unable to use sign language, James lived his whole life with his family, subsistence farmers who barely got by. And so James compulsively drew houses, dream houses, big and small, making hundreds of paintings and drawings of the houses he saw and the ones he imagined.
One day, James’ nephew came to visit. Bob worked at an art school in Oregon and recognized the genius of James’ house drawings. Soon the Castles were overwhelmed by offers to stage exhibits and to buy the art. The family finally had enough money to build James his own little house on the property.
As soon as the house was completed and James moved in, he never made paintings of houses again. His work was done.

Art has that power for me too — not to create real estate perhaps, but to focus me on what’s really important. To communicate with those parts deep inside me that don’t have a voice. To take that yearning and draw it out.
In my case, it’s not as simple as just wish fulfillment. It’s a barometer on how I feel, my degree of confidence or of focus. It shows me the value of what I have, the wonders of my city, the treasures in my home, the beauty of the people who fill my life.  It puts a beautiful gilt frame around the things I have been too distracted to see.
Drawing alone can clear a path through the fog and chaos and help me see what I truly want out of life.
But unlike James, my work will never be done. At least I hope not.

The Club

Scan 20

Over decaf, a friend told me of the time her teacher inherited a country club . Acre upon acre of sprawling grounds, putting greens, tennis courts, bungalows, a pool. Each August, he closed the club for a month, hung a chain across the drive, and filled it with artists, his students. He flew in models from New York and all day long they drew. At night they spread their work across the ballroom and he picked through the field of paper, a cassowary in a stained polo shirt, diving into the pile to pluck out a sheet of newsprint here, a watercolor there. As they sat cross-legged, smoking and paring the paint from their cuticles, he would weave a long twisting narrative that connected the works, a story of art and struggle and life.
This magical month of sunshine and charcoal and stories fueled the students through the year of ordinary living, until they could return the next summer to sip bottled beer on the club porch and pass around their sketchbooks once more.
I felt my cheeks grow hollow as I listened to this story from another era, a time of commitment and freedom I will never know. To live art so utterly, to learn without end, to share, to be young, to be led, to experience the drawing life as a mighty oak to add ring after ring to, never completed, always stretching and growing and failing and learning. Not a hobby or a vocation but a 24-hour life without end.
The story made me feel old and spent, standing on an empty train platform in the rain. Yearning for youth and ink and sunshine and possibility. Till deep in my head, a voice, a boy’s voice, said the sun was still shining and the day was still long.