Ut Pictura Poesis, A Return

The best paintings, the best poems require our attention, and, unsurprisingly, they reward our attention...

Tabby…

In Summer 2018 I got a Facebook friend request from a person in Norway. I almost ignored it as a phishing scam. Thankfully, I didn’t. As they say, the rest is history.

A friendship, and four-year collaboration with writer Damon Falke resulted in Between Artists, Life in Paintings and Prose, our 2022 exhibition at the Hockaday Museum of Art in Kalispell, Montana. The Between Artists book was published the same year.

A chance Facebook connection. A collaboration. An exhibition. A book. Those were the tangible things that marked our journey. But it was the day to day moments along the way that proved to be much more impactful. My world as an artist expanded both outward, and inward, in a profoundly quiet way. This growth unfolded slowly, was unforced, and strangely, because of the vast distance between us, with an intimacy that would not have been possible had we lived and worked in the same place. Distance provided the buffer that allowed free expression and introspection. Our collaborative journey occurred over an almost three year period of time, and totally through emails or the occasional zoom chat. We had the luxury of time to nurture and develop our common collaborative voice as we independently went to the work of writing and painting.

Our emails could be the subject of a book in themselves. Tens of hundreds of exchanges about art, our approach to our work, the frustrations and the joys of the creative process; our lives and limitations; everyday life and what we were making for dinner. All of them were printed and archived in six, three to four-inch three-ring binders. As I open these folders, and randomly select a page I am struck by how these email exchanges are like a tennis match where we lob thoughts or questions back to each other, searching and diving deeper to find answers or a new awareness of ourselves.

Photo by Tabby Ivy

Recently, I went back to revisit some of those emails exchanges to see what we were thinking about oh those many years ago. I wanted to see if there was a conversation or topic worth a second look. I found this exchange from 2020, where we ponder the Latin term, ut pictura poesis - as is painting so is poetry, and the historic connection between writing and painting.

I must say, my idea for going back and revisiting our emails was not met with enthusiastic support by Damon! Push back would be an understatement. But, ever the trooper he reluctantly came on board after I reminded him that these are not polished published essays; these are just emails, honestly written in all their raw, stream-of-consciousness beauty.

Damon…

For the record, I have never re-read anything I have published. It seems like an unhealthy process, and, in a way, I already understand what I will find—clumsy sentences, limited or weak thinking, a continual dread of having made or having not made a point. Given this, when Tabby asked about publishing excerpts of our correspondence, I was reluctant. I suppose I remain reluctant, but here we are. And now that we are here, I am less occupied with what I did or did not write than I am grateful for my friendship with Tabby and for our effort to produce Between Artists. We searched for ideas, directions, took measure of what was important to us and to what might touch readers or viewers. The best collaborations are constant with ideas and a kind of energy that requires, eventually, a focus. In these exchanges you can witness two people seeking insights, connections, and for how they might bring their separate mediums together in the hope of having them sing a new song. But the effort required wandering—and a few detours. I hope the sometimes-rickety trails have been worth the good vista or two.

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August 13-17, 2020

Email from Tabby 8/13/20, 3:23p MDT

Hi…when looking for another email I came across this one. I can’t remember if you responded to it … I don’t think you did…so I am throwing it out there again. Is there a place for an extended discussion of the term/concept somewhere in our project. It just seemed so appropriate for our Paintings and Prose collaboration. If it doesn’t excite you we can drop it!

Forwarded Email from Tabby 6/9/20, 11:39a MDT

Ut pictura poesis

(As is painting so is poetry)

I was reading the introduction to Writings on Art, by Mark Rothko and came across the term, ut pictura poesis, as is painting, so is poetry. The term was new to me. The author mentioned that Rothko, in turning to more abstract work he wanted "to raise painting to the same level of intensity and emotion as music and poetry.”

I thought the concept of “ut pictura poesis" was perfect for our project. I googled it and found this article that speaks to its use over many years as interpreted by many scholars and artists:

The last line was especially interesting to me:

"A more pressing and provocative problem is that of the vibrations between poetry and painting, indeed between our senses themselves."

http://csmt.uchicago.edu/glossary2004/utpicturapoesis.htm

The vibrations between poetry/prose and painting…and the extension to the impact those vibrations have on the viewer/reader.

I thought you might find this concept interesting, too.

Email from Damon 8/13/20 8:46pMDT

Hey, Tabby. Early morning for me. I've been going since 3:39. Often enough, when I have a town and errand day, I get up early to manage other things . Anyway, to answer your question, this is a topic we can pursue. In fact, I had your previous email, the one concerning ut pictura poesis, on my list of topics and/or essays to work on for the project. And I also think this has potential for a meaningful conversation between us. Curiously, when I think about the subject, ut pictura poesis, I find myself returning to notions that consider the "uses of art." It may have been in a Cecily Brown or Gerhard Richter interview, in which the subject of "has art reached its in" and/or the question of "is art still meaningful?" was mentioned but not very much explored. But it seems to me, at least today, meaning this morning, that any attempt to understand the sensory relationship between art (pictures) and poetry ("artistic" writing) is one not of meaning alone but also of use. This was a concern of Plato, for instance, when thinking about subject. And I am curious about how you think of the usefulness of art? Of course, there is usefulness for the painter and usefulness for the viewer, presumably. Or, maybe more provocatively, have we reached the end of art?

Email from Tabby 8/13/20 9:31pm MDT

Boy, you ARE up early!

I think I opened a big can of worms! I feel like I am operating above my pay grade on this…me and Plato are not on a first name basis. I am game to learn, tho.

Not having studied the classics I have some catching up to do…and I have the perfect partner to guide me!

"is art still meaningful”, "has art reached its end”? My immediate reaction is “depends on who you ask” - why does “if a tree falls in the forest and no one is around to hear it, does it make a sound” comes to mind”? If a painting is never seen or a poem never read does it still have meaning?

These questions seem different to me than what I got from the ut pictura poesis or as is painting so is poetry. Unless we are questioning the role or use of painting and poetry…but, lets keep this going and see where it leads us.

Email from Damon 8/14/20 11:46am MDT

Let's see where the conversation leads. We don't have to be correct; rather, we simply need to make a thoughtful exploration of the questions. Your question of whether a poem or painting can still have meaning without a listener or viewer is a very good one. One of the possible exchanges between words and paintings is described as "vibrations." I can see a painting. I tell myself (using words) what I am seeing and what I am experiencing. Plato's problem is that in either case we are not experiencing the "real." Instead, according to Plato, we are experiencing imitation. Aristotle took exception to this, suggesting that to feel, to be moved by a design or the sound of a poem, is indeed a very human experience. You and I, and however many millions of other people, look at art, read books, and in the process perhaps become a little more human. The perhaps, at least in my mind, is crucial to appreciate. Art, reading, music does not necessarily make us more humane. We perhaps can deepen our experience of being human through these mediums; however, it is not the case we will become better human beings. I do not believe we are at the end of art for the reason that we are not at the end of our humanity. The fact of a human life is limited, but the possible encounters we might have with art are infinite. Humans are meaning makers. That is part of what we do. There may be other creatures that make meaning. I don't know. But I do know we are meaning makers. Whether art should have a specific public function, I do not know yet. I have thought about it, and the writer in me wants to resist. I wish very much to remain a believer in l'art pour l'art. And yet, if we as a culture desire to fund "public" art, then how are we to determine what the public function will be? I don't have an answer for that question, except to suggest whatever nudges us towards the possibility of becoming better humans.

Email from Damon 8/14/20 11:31p MDT

I went back and read other perspectives on ut pictura poesis. There is a massive amount of scholarship, centuries of scholarship, one can pursue. I cannot possibly sum up the scholarship, given that I have not come close to reading it all or its many depths. Nevertheless, there are a couple of points to take hold of. One is that our relative distance to either a painting or a poem informs us of our experience with it. When correctly translating ut pictura poesis “as is painting, so is poetry,” we might think about how our perspective or judgement of a painting changes when the painting is viewed from a certain distance. Think about a paining in bright light or low light. Think about a painting viewed from 10 feet away versus 2 feet away. Another understanding we might have of the phrase is that poems, effectively beautiful writing, stirs pictures in our head and paintings cause us to discover beautiful words. Given that art and poetry speak to and from each other, what do we gain from this knowledge? Words inspire pictures. Pictures inspire words. To understand this and the historical contexts from which this claim has been considered demands significant scholarship. To spend time with these subjects, like spending time with paintings and poetry, we have opportunity to deepen our humanity.

Good thing we have silence!

Email from Tabby 8/14/20 12:43pm MDT

Hi

I think we are on to something here… this is a great conversation to add to our website…I put the email chain together. Good stuff. Will write more on this later…enjoy the salmon!

Email from Tabby 8/16/20, 5:49pm MDT

Hi

Been web surfing this am…trying to gain additional perspective on ut pictura poesis. This essay included a comment about Aristotle’s stand. I like his take.

"Rather than discard illusions, Aristotle views poetic and artistic representations of the world as part of human nature. For him, those arts provide a way to get to the real."

http://csmt.uchicago.edu/glossary2004/utpicturapoesis.htm

I come down to the opinion that just as a poet writes of life, the painter paints of life (each coming from their place in it)… let the academics go on at debating the merits, shortcomings or how to interpret the effort in depicting or describing mans place in the world - regardless, they exist. And this is good for our humanity.

“The arts provide a way to get to the real”. I'm with Aristotle

Email from Damon, 8/16/20 12:27pm MDT

There is much to be said for where you land. There is a wonderful paradox at play, in which the creators of illusion are directing us towards the real.

Email from Tabby 8/16/20 7:15pm MDT

I do think the artist’s “illusion” is indeed their “real”…yes, this could go on and on!

Email from Damon 8/16/20 12:19pm MDT

Yes, it could! It has for centuries already, but at the same time, knowledge of these things can add a certain intentionality to the practice of artists. Yet, like you and I have talked about in other emails, there is something to finding that one line or one brush stroke that leaves these conversations and so many other concerns behind. That's where the freedom of this practice lies, one of the places anyway.

Email from Tabby 8/16/20 12:23pm MDT

Hi again

Re reading emails this morning. I don’t know if I answered this one.

Somewhere in my pea brain recently I read a comment from someone about people who collect books. The writer said that people who collect books have curious minds. As I have said many times, I am a curious person and enjoy learning new things. I think remaining curious is one of the most important things to have in ones life, and I tell my grandkids this all the time.

I have always thought that I really missed out by having not had an opportunity to go away to college. I did eventually go to night school and got my certification as a respiratory therapist, but, I never had the enriching learning experience of college. So, all thru my life I have been curious and fed that curiosity thru books. As I began painting I focused on art books and I do have a great and growing collection. As I learn more, and new artists come on my radar I want to learn more about them and their work.

As I mentioned a few emails ago, I want to learn more about the possibilities in art, in subject, in execution and in the challenge in expanding my form of expression. Books allow that.

When I open an art book I am in a very focused and peaceful place. I allow me the quiet time, away from peripheral thought, to absorb inspiration and feed my curiosity for what is possible. A happy place to be.

(End of email thread)

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Tabby …

Wow. What a trip to go back five years! Damon and I never did reach closure on the topic of “ut pictura poesis”. In fact it never made it further into our collaboration or into the Between Artists book, but as I read our exchange I find myself marveling once again that a writer in the far north of Norway and a painter living four thousand miles away in Bigfork, Montana connected through their art. Ut pictura poesis - as is painting, so is poetry. Our work reached into the universe and led us to meet along some cosmic creative pathway.

For next two years, 2020 - 2022, we continued our email correspondence and focused on our collaboration and the work of painting and writing. In the intervening five years we completed the Between Artists exhibition, and published our book. I made a trip to Norway, spending time with Damon and his family and getting to know the place he calls home, and I moved from Montana to Oregon. Throughout all these changes and milestones our friendship has grown, we have continued our emails with the occasional phone call to deepen discussions. And are exploring an idea for a new collaboration. Ut Pictura Poesis continues to bond us.

In reading through the emails today I am stuck by Damon’s comment, “To spend time with these subjects, like spending time with paintings and poetry, we have opportunity to deepen our humanity.” And also what Rothko said in turning to more abstract work, that he wanted "to raise painting to the same level of intensity and emotion as music and poetry.”

I find myself wanting to be more expressive in my work by turning inward, to get closer to what motivates me, and to what I want to say at this point in my creative journey. I am moving away from the more literal depiction of place, though my work has always leaned to evoking a mood or emotion. Currently I am striving to connect and deepen my understanding of my own humanity using intuition and unconscious thought in the painting process. I am painting from a deeper place, and experimenting with new techniques that allow more abstraction, welcoming spontaneity and chance into the work. I want to nurture intuition and allow it to guide me through the process rather than be confined by subject or other defined goal. Like Rothko, I am finding elements of music in these paintings, different notes or vibrations expressing more emotion in the work.

The writer writes about life, his own humanity and his place and reaction to the world around him - and the painter paints. All we can do is be as truthful as we can in conveying that experience.

Damon…

The best paintings, the best poems require our attention, and, unsurprisingly, they reward our attention. In a poem, we might notice, for instance, the connotations of a line we had not recognized in previous readings. In a painting, we might see a brushstroke that is, in a sense, the painting. I experienced this a couple of weeks ago while touring the Guggenheim. I stopped at the Monet painting, “The Palazzo Ducale, Seen from San Giorgio Maggiore.” There are brushstrokes on the waterfront of pale vermilion that are the painting. Our beloved poems, our beloved paintings beg our words, yet our words cannot comprehend the experience of our encounter. And when our perspective changes—when we stand closer or farther away from a painting or when we attempt to understand short lines or a necessary word in a poem—then our experience may be further enriched. We might be enriched. In keeping with poesis, something is made, something emerges. I do not believe in the salvation of art, but I believe art can compel us towards what is more humane. I am not certain if art has a higher purpose than that. But two further points to consider: 1) As viewers and readers, we must be open to the possibility that an encounter with art can deepen what is humane in us. The cynosure here being that the heart must be open to receive what the art gives. 2) What happens when poetry and painting are combined? Does something new and significant emerge? Or is something displaced from both? I recognize both are possibilities, but I am curious about what the general combination compels, though to generalize may be too ineffective. And yet I hope there are many of us who will continue to look and listen. We have different tastes. We can disagree. But I want a heart that breaks before a Van Gogh, that gasps before a Rodin, that dreams before a Morandi.

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Damon and Tabby released Between Artists, Life in Paintings and Prose, by Damon Falke and Tabby Ivy in 2022. You can order from the second printing of the “Between Artists” book (the first printing sold out!) at tabbyivy.com/books.

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You can also discover more about their collaboration in this short film released with the 2022 exhibition Between Artists, Life in Paintings and Prose at the Hockaday Museum of Art in Kalispell, Montana:

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Damon Falke is the author of, among other works, The Scent of a Thousand Rains, Now at the Uncertain Hour, By Way of Passing, and Koppmoll (film). He lives in northern Norway.

Tabby Ivy now lives and works in Carlton, Oregon. Painting came late in her life. Her home studio is a sanctuary for working, and reading her extensive collection of art books. Learn more at www.tabbyivy.com.

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