Ever since I really saw this painting at the Met in New York City,

I wanted to somehow capture this:

I was pretty pleased with getting a photo of it, and my butterfly net of words managed to at least capture some of its vertigo with poetry, but then I desired to dance. And to sing. In fact, most of Vincent’s great paintings make me bounce my knees. And lean in too close.

I have already written some music for the show, and I have dreamed and dreamed about getting the above rhythm into my body. This week, my cast and I began this aspect of our task.

I sang the songs for them (and amazingly, I wasn’t nervous! which is great progress for me) and they are singing back, tapping an improvised drum back, and expanding with harmony. I’m teaching them some of the soundscapes I have, up until now, only plucked out on my guitar, and their voices fill up those dream-songs like hot air balloons. I’m going to try and share some more of that music with you soon.

We have also begun to try to contain Vincent’s paintings (or let them vibrate, or sing or fly away) in/through our bodies. Here are some of our first corporeal responses to those lovely paintings… Just a taste, I hope you’ll enjoy.

If you’re in Chicago, please consider coming to our first fundraiser party June 22nd, a week from tomorrow!

Tuesday, JUNE 22nd at The Spot (4437 N. Broadway Avenue) at 7pm
Play TRIVIA! Win Money! Drink!
$5 entry

Things are rolling right along, and there’s no stopping it now…

Callbacks were wonderful this weekend – I heard my words (and Vincent’s! and Gauguin’s!) on the lips of young actors ready to take a nose dive into the depths of this project. It was somewhat indescribable to have a young man speak Vincent’s words to me with purpose, looking me in the eye and trying to convince me, plead with me… It reveals to me the inherent power in what I’ve done, in all the research and the confidence with which the actors and I will be able to explore all that this man was, is, and will be.

There’s not much more I can say about it for the moment, so I will finish this entry with a discovery. It’s rare, I must admit, that I learn something at this point in my research that I’ve never heard a thing about before, but last week it happened. And since I’ve never read anyone else say anything about it, I hearby take it upon myself to make it known.

Vincent had some plans for works that never came to fruition. Here is one plan I had never, ever heard of, from the 29th of April, 1890, exactly three months before his death:

Please send me what you can find of figures among my old drawings, I’m thinking of redoing the painting of the peasants eating supper, lamplight effect. That canvas must be completely dark now, perhaps I could redo it entirely from memory. You must above all send me the women gleaning and diggers, if there are any left. Then if you like I’ll redo the old tower at Nuenen and the cottage. I think that if you still have them I could now make something better of them from memory.

These are three paintings he completed in 1885; they also happen to be my favorite paintings from his earlier work. Let’s take a look.

The Potato Eaters, 1885.

Thanks to vangoghletters.org

The Old Church Tower at Nuenen (‘The peasants’ churchyard’), 1885.

Thanks to vangoghletters.org

The Cottage, 1885.

Thanks to vangoghletters.org

That puny little flame in the window is absolutely radiant when you stand in front of this painting, but anyway. These are all breath-taking in person. Unfortunately, copies always diminish the essence.

Since Vincent’s second take on these subjects never happened, I’d like to spark our imaginations. This was what Vincent had finished “now” when writing the same letter (another beaming, delicious painting):

The garden of the asylum with dandelions and tree-trunks, 1890.

Thanks to vangoghletters.org

Imagining the prior divine paintings expressed through Vincent’s incredible later personal style kind of blows my mind. By 1890 Vincent was working so differently than in 1885… These new paintings would, without a doubt, have made new masterpieces.

Also to my surprise, in 1890 Vincent did a few paintings of Brabant, the area of the Netherlands he might call home, from memory. I had never seen these images before – which just goes to show you how much this man painted.

Now, I personally think Vincent’s work is always weaker when it is from memory rather than from life (there is an incredible precision and clarity in the latter, even in the swirls that some people find the expression of psychosis), but these paintings of “reminiscence” are incredibly provocative. One can’t help but wonder, what if Vincent had returned to the Netherlands and painted after all he learned in France? I suppose it would have looked something like this.

Cottages at sunset (‘Reminiscence of Brabant’), 1890.

Thanks to vangoghletters.org

Cottages at sunset (‘Reminiscence of Brabant’), 1890.

Thanks to vangoghletters.org

Cottages at sunset (‘Reminiscence of Brabant’), 1890.

Thanks to vangoghletters.org

Field with women lifting turnips, 1890.

Thanks to vangoghletters.org

I know, I know — a WHOLE NEW COLOR PALETTE. It’s pretty awesome. Now, look at this incredible shift in Vincent’s work and style in just five years from 1885 to 1890, half of Vincent’s entire artistic career. Picasso painted for his entire adult life, which was 60 years long. What would Vincent have done in sixty years? I often ponder this question, and now I leave it up to your imagination, Reader.

Since I am going out of the country for two weeks, this blog will be on hold. I am finally giving myself and this place a break after nine months of posting every week. In the meantime, read an entry you’ve never read before. You can browse through my travel entries, or just look at the calendar here on the right. My next entry will be the 24th of May.

In the meantime, let spring warm your face and your imagination race with possible futures.

Until next time…