February 13, 2000

A-maze-ing Artists See Differently

Oh wad some power the gifte gie us

To see oursels as ithers see us!

It wad frae monie a blunder free us,

An' foolish notion.

-- Robert Burns

Perhaps it was a foolish notion to launch this new column -- and surely another to pose coincidently for a quartet of artists at the Charlotte County Visual Arts Center in Punta Gorda.

Nevertheless, our executive editor -- who rolls his eyes when I hand in copy for my other columns -- insists on a "logo." This is newspaper lingo for a pictorial trademark. It clearly identifies the proper target for indignities that might be inflicted by disenchanted readers.

Thus, the invitation to sit still, off and on, for three hours while talented artists portrayed my persona seemed a propitious omen.

I was part of the Center's "character sketching" program - a recognition that establishes once and for all what my friends have long maintained. I am a bona fides character.

The center also sponsors a "nude figure" class, but the nice lady who enticed me into a modeling career apparently forgot to offer the alternative.

* * *

Posing is more difficult than I imagined.

I had the good sense to wear a beat-up straw that, hopefully, would give the artists something to emphasize instead of my beat-up physiognomy. The ruse was not entirely successful.

My posing routine began with the Alpha Artist seating me on a high  stool, tilting a spotlight this way and that. Same with my head and hat.

"Look straight ahead," said Alpha Artist. "What do you see on the opposite wall?

"Picture of a naked woman," I replied. "Not bad!"

"Please. We want your cooperation, not an art review. Now, don't move."

I stared at the naked lady picture for the better part of three hours. I  feared her nicely arranged features would be burned into my retinas forever.  No such luck.

In due time, four sketches were produced. All would have been masterpieces except for the subject matter. I must admit I was somewhat disappointed with the outcome. I fancied that I most resembled Clark Gable in "Gone With The Wind."

Our city editor came to choose one of the sketches for the logo you see above. With the strange logic of city editors, ours chose the one which would "look into the headline." On such frivolities are journalistic decisions based.

Of course, Bobby Burns, the immortal Scot poet, wrote about "The Louse" crawling on the collar of a lady sitting in front of him at church. But you get the idea.  

Better Example

Lest you lose faith in the ability of artists to see us as others do not,  go visit the Visual Arts Center's "National 2000" exhibit of 123 paintings by nationally recognized artists. It is open without charge through March 4.

Be sure and linger at the Best of Show entry titled "John Moody's  Journey" by Ted CoConis. It does best what contemporary artists strive for - interpretation. Realism is for cameras.

When I entered the exhibit hall, my attention focused immediately on the five-and-a-half-foot square bi-color painting. The profile was of man's face, full of honest-to-goodness character artists would die for - no funny hat necessary.

The head, however was a huge maze. Was it a brain? Or a labyrinth? Or both?

It reminded me of a 40-foot-diameter maze design I saw years ago in the floor tiles of the great cathedral at Chartres, France. The design was a  pair of narrow black and white paths spiraling to a center. I commented to a  priest standing there that the maze sort of made one dizzy.  

The priest smiled. "In medieval days, people came from great distances to walk this maze. They reported spiritual miracles, or profound inner peace, while threading the path.

"You start on the black path, representing darkness. You walk it slowly -- while meditating on a personal problem or searching for an answer to a perplexing question. You make seven circumambulations to reach the center where you pause. Then you return by the white path representing light which returns you to the everyday world."

 I made the trip in and out, but only got a little dizzy. My conclusion was that there was no hope for the wicked, like me, and very little for the righteous.  Nonetheless, I was impressed.

Ted CoConis, the artist, was standing nearby with his wife Kristen accepting congratulations. I ask him why he portrayed his model so dramatically.

He explains: "My wife also is an artist live at Cedar Keys, Florida. Our good friends, John and Mildred Moody, live in a small fishing village at Cutler, Maine. In summer he loans us a turn-of-the-century general store that has been converted into a studio.

"John is a remarkable person. After serving in the Navy during World War II, he joined the Navy Medical Service Corps conducting research involving cortical surgery. Later, at the Naval Medical Research Laboratory in New London, Connecticut, he was engaged in the design of environmental and control systems for nuclear submarines.

 "Upon leaving the Navy he worked on the Mercury and Apollo projects for NASA. This was followed by design work on Minuteman and cruise missile launch facilities.

"His mind is awesome. It reminds me of a labyrinth and its mystery of self discovery - a favorite theme of mine.

"He is here to share the pleasure of the first showing of his painting. Come, I will introduce him."

* * *

I ask John about his experiences that so impressed the artist. He replies: "I can't talk about military projects because they are classified top secret. However, I can talk about the weather. Great weather here in Florida."

"Nice try," I reply. "Tell me what you are thinking about that is not connected to a specific project."

"Well, I think a lot about the long-range effect of smart missiles on the long-range future of wars," he ventures. "Field soldiers trained to kill may become obsolete.

"Where is the safest place to be in a war dominated by bombs that can dive down a smokestack?" he asks. Then he answers his own question: "At the target.

"The present aim is to maim people, not kill them or create a pile of rubble. This is a more humane, comparatively; but I think there can be a still better way to fight and win without seriously hurting anyone."

No wonder Ted sees John's thinking apparatus as an enlightening maze.

* * *

National Art Exhibition 2000 is a juried show culminating two years of work by a Visual Arts Center committee chaired by Barbara Burnett. Patrons  donated the money necessary to attract recognized artists from around the world.

Paintings are first judged for exhibition. This, alone, is an honor. Then, Katherine Chang Liua, an accomplished artist and nationally accredited juror, selected monetary prize winners totaling $6,500.

Ted CoConis' entry - priced at $5,500 -- took top prize of $2,000.

To see more of Ted and Kristen's paintings, log onto their website - www.coconissstudio.com. (webmaster's note: not an active URL ... active URL=http://www.tedcoconis.com/)

Author: Lindsey Williams

Cutline 1 - 3 col.

Photo by Tamara A. Patzer io

[ Artist Ted CoConis, left, and model John Moody face off before Best of Show painting depicting a conceptual impression of Moody's mental prowess. ]

 oooooooooo

Cutlines 2, 3, 4, 5  -- each  18 1/2 picas wide, all same depth

(2)  Lindsey by Fran Hines  (same as logo)

(3)  Lindsey by  John Reale  (looking left, apparent mustache)  

(4)  Lindsey by  Eull (with eye glasses)

(5)  Dotty W. Mattoon ( pattern vest}