David Lynch, stump of tree

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I am an admirer of the films of David Lynch and since first becoming aware of his drawings and paintings I’ve been a fan of them too. Often visual art shows by people who are internationally renowned in other areas of culture are misplaced, the folly of desperate museum directors trying to fight off the cuts with celebrity, or a rash commitment made by a curator after too many drinks. But not however in the case of the world famous film director, who has had gallery exhibitions throughout his career in film, most recently at Brisbane’s GoMA. If in the future film comes to be known as the medium of our time or perhaps more likely of the 20th century, Lynch will be thought of as a key figure in its history. It could be the current stagnation and mediocrity of film output that drive him to visual art, or just that making a film is so collaborative and all encompassing, that it might be quite a relief to paint and draw in solitude. There is a clear relationship between his two outputs and his drawings in particular are a good indicator to how he might formulate ideas for film. In this Drawing ‘stump of tree’ the tree is like a figure holding out its hand maybe as a greeting, maybe pleading for help or mercy. The watery stains around and behind the tree function as sky, there is a distinct black cloud, more drawn than stained, hovering ominously over what would be the head of the figure/stump, and there is a moon or black sun, or eclipse even. The general feel is of a stage or set, but minimal like that for a Beckett play. The writing on the drawing seems out of place, we already know it’s the stump of a tree in the title and in its look. Perhaps this is the mark of an artist engaged with not his primary method or material and therefore not quite as accomplished as is necessary. In drawing as in film Lynch has the ability to conjure the darkest viewpoint from any subject and to encourage us to do the same. His imagery is always at its best when simple as it is here and his images have the ability to stick in the mind. The thought of a weeping man, in what is undoubtedly to my mind his masterpiece Twin Peaks, disorientated and repeatedly exclaiming, ‘wrapped in plastic’ is much more etched on the common consciousness than any graphic horror.

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