UNIT 2Dissertation

UTOPIA OR DYSTOPIA?

L O N D O N

By Stephen Myers BA(Hons) FRSA

s.myers1@arts.ac.ukMA Drawing(Part Time)

G L O S S A R Y

UAL-University of the Arts London

“Who knows if life be death or death be life” (Plato 1973b, 492)

In the Unit 1 dissertation the idea of life (London) being a departure lounge was presented. A departure lounge with 2 destina-tions? The conventional orthodox belief of course, is that these 2 destinations are heaven and hell. One of eternal bliss (Utopia) and one of eternal shame (Dystopia). In his book “The self, the soul, and the psychology of good and evil.” Ilham Dilman reflects on the existence of the soul as detached from the human body. He points out what Socrates be-lieved that the soul thrives in disassociation from the body. This disassociation is a per-son’s detachment from the bodily pleasures-greed, gluttony, avarice, lust, envy, jealousy etc. In the Phaedo, Socrates maintains that the body is the tomb or cage of the soul and that death is the release. Our lives are taken up and engaged in struggle with each other and the events of our lives.

“Dying is the release of the soul from its cage that is detaching ourselves from these things and growing indifferent to them” (Dil-man2005, p12)

It is this struggle that defines us and we are given the idea from conventional religious writing that we are being tested “as one who has gone through fire” (1Corinthians 3:15). The result of which is either good or evil. In a bland existence where there is little tempta-tion or struggle the resulting outcomes are in-different. In a place where struggle is intense, where temptation, avarice, ambition etc, are at maximum volume then the outcomes are dramatic. London is such a place. The daily papers are full of this drama.“Goodness belongs to a morality of love and consists of the capacity to think and care

for others…evil by contrast is repetitive…it revolves around common enemies or hate fig-ures. Thus an evil person’s life moves within a closed space and his actions in that space are repetitive” (Dilman, 2005, p40)

“It is true, of course, that we inevitably find ourselves and our identities within the cul-ture to which we belong” (Dilman, 2005, p43)

Many of course, are taken up with that culture and never question its hold over life. Others have questioned and seen the hidden agendas but the struggle is overwhelming and they become passive, then finally there are the minority who escape. This topic has surfaced in both protestant and catholic lit-erature. In Bunyan in “A Pilgrims progress”, and also “the ascent of Mount Camel” by St John of the Cross. Both of whom inspired drawings, “Plan of the road from the city of destruction to the celestial city” by Williams for the Pilgrims progress and “Mount of per-fection” by St John of the Cross.Some of these concepts are examined in Unit 2 as drawings. In these drawings imagery of people and place are repeated and revolved to represent this recurrent struggle and the iconography, symbolism and statuary of the city is depicted in an attempt to convey the life and experience of life and moreover life in London. The history of some of these stat-ues and places will be examined to see what they bring to the experience of our lives. Are there common threads and repeating themes playing out in the life of a city?The research involves wandering the city as a voyeur both drawing and reading the land-scape and its stories. There is a description for this activity, which is known as Psycho-geographer.“One who explores and reports on psycho-geographical phenomena.”(Coverley, 2010, p93)

“Plan of the road from the city of destruction to the celestial city” by Williams

In his book Psychogeography by Merlin Coverley he states,

“Psychogeography seeks to overcome the process of ‘banalisation’ by which the every-day experience of our surroundings becomes one of drab monotony.” (Coverley, 2010, P13)

Coverley examines various artists and writ-ers who share a perception of the city as a place of mystery and seek to reveal the true nature that lies beneath.This phenomenon of place as mystery became of interest in 2011 on hearing an unusual story in another great city-Paris. On a visit to Sainte Chapelle, the story of Louis IX was related and his acquisition (for 135.00 livres) of the crown of thorns. In the story, the Latin Emperor of Constantinople, Baldwin I, anxious to obtain funds for his tottering Empire sells the relic, via the Venetians, to the King of France. Louis had the Chapelle built in miraculously short time and the crown arrived in 1239. Of course there are those who would ques-tion the authenticity of this crown. What is authentic is the historical events that came to pass after its arrival.

“Mount of perfection” by St John of the Cross. Soon after its arrival in Paris the Byzantine Empire the former home of the crown, expe-riences disaster after disaster with the final fall of Constantinople in 1453. Byzantium disappeared. The previous home of the crown was a place full of spiritual activity and leg-endary saintly characters like St Simeon the stylite, a place of formidable sanctity ver-sus untold debauchery. This all comes to an abrupt end while Paris and its home country set off on a rollercoaster of a journey produc-ing many great saints and sinners, its artistic and cultural life hit highs never seen in its past history. However the fact that is of more interest is how the city itself came to have a unique design feature that mirrored the most important quality of the crown itself. The city is famous for its ‘arrondissements’ or circles. No other City has this feature, the majority preferring a grid formula. What is interesting also is that this can be taken as an example of how an event may well have influenced the city in contrast to the city impacting on event

and experience of the individual.London and its home country have expe-rienced other dramas no less mysterious, which have affected its design and planning. The story of Henry VIII is infamous and known globally. He is known not only for his divorce from his wives but also from another great city, Rome. The aftermath from this event brought about a great distaste of all things Roman and Catholic. This suspicion and rancor existed alongside Britain estab-lishing a global empire. What is fascinating in the story of London’s history is, despite itself, it has always been modeling itself on a Roman formula. This formula re-emerged during the Regency/Victorian period when untold artists and artisans became fascinated by the idea of creating a capital that was be-fitting an Empire to rival all others including that of Rome. Even earlier than the Victori-ans, Christopher Wrens unveiling of St Paul’s in 1711 was met with mixed critique, some loved it others hated it.

“There was an air of popery about the gilded capitals, the heavy arches.” Tinniswood (2001) p31

In fact Wren hid his design from such criti-cal observation during its building. Of course London’s history with Rome goes back some time. In building Britain’s Rome could it be possible that its future may mimic that of the story of the true Rome. In the National geo-graphic program on ‘Rome revealed’, Ki-eran Bew highlights the fact that because of Rome’s success it was populated by a variety of nationalities a fact lost in the mists of time and probably lost on contemporary inhabit-ants. This is relevant to London’s contempo-rary story.In the Guardian newspaper article of wed 30th January 2013 Robert Booths journalistic article describes how Polish is now Britain’s

second language, having overtaken Gujarati and other Asian languages. In the past of course the population of Irish nationals in Britain was huge. Both nationalities have huge allegiance to Rome. That, despite itself, London can never seem to throw off this Ro-man alliance.In the practical work of Unit 2, the draw-ing of London’s icons and statuary are core. Many of these statues represent virtues and their polarities of greed, gluttony, avarice, lust, envy, and jealousy. The dual polarities of good and evil and other pole opposites are also examined within this context. Sym-bols/signs as well as statues will be part of the research. In The encyclopedia of Gangs, hand signs and symbols are mentioned as be-ing part of gang culture. Introduced by black gang members in the mid 50s.

”They use hand signs to communicate mes-sages and identify themselves to other mem-bers. This is usually referred to as ‘flashing’ or throwing’ signs”(Brotherton & Kontos, 2008,p?)

Hand signs are inherent in many cultures and communities. The early Christian saints are known to have been martyred while holding 3 fingers up to denote the Trinitarian qualities of a Christian God. (e.g. St Cecilia) Other symbols of good and evil are rel-evant. The classic ‘cross,’ and its inversion, which popularly, have come to denote Satan-ism. The use of black and white mediums in drawing will be relevant by way of their connotations to good and evil. These ideas of inversion and turning upside down will be part of the visual imagery of Unit 2 drawing. The research into London’s statues will also be relevant.

“When Queen Victoria came to the throne there were only about 20 major statues in

London, but when she died there were over 200, a figure which has since been doubled.” Gloucester & White (1971)

‘The City’,Authors own artwork.

Alfred Gilberts Eros statue, Adrian Jones’ Wellington Arch statue and J B Bunning’s City of London Dragon statue will form part of the interplay with drawing the cycle of London’s drama.Alfred Gilberts studied at the Ecole des Beaux-Arts in Paris but developed later in Rome and Florence where he developed a love for the renaissance. The statue of Eros at Piccadilly is a symbol of the virtue, char-ity, and not the druidic God of Love as many think. It was placed there in honor of the charitable work Lord Shaftesbury took on in creating affordable housing in London, an ever-repeating dilemma of the city. In the drawings the statue is drawn with a pole op-posite image of a contemporary figure in an act of violence and hate.

Adrian Jones Quadriga statue. The arch was built in honor of victory in the Napoleonic wars. However the statue depicts “Peace descending on the Quadriga of War”

“The figure of peace was critiscised for being too large” Gloucester & White(1971)

In the statue a boy is depicted holding the reins of the chariot. The model for the figure was in fact the son of the man who funded the statue Lord Michelham. The drawings executed using this statue present the statue in pole opposite to the drawing of modern warfare namely gang culture in contempo-rary London. In the book “Encyclopedia of gangs” by Louis Kontos and David C Broth-erton by Greenwood press 2008

“Gang boys’ are primarily children of immi-grants living in industrial slums, Their par-ticipation in gangs is deemed a natural re-sponse to the problems and contradictions of their world; a mode of adaption that includes rituals, symbolism, folklore and concepts that provide a basis for solidarity and sense of collective purpose” (Brotherton & Kontos, 2008 p?)

‘Quadriga’,Authors own artwork

This collective purpose is also the purpose of the statue and all nationalistic imagery that imbues a sense of belonging. These statues now seem to be statues of the establishment the pole enemy for the new dispossessed generations. The gangs.

Ilham Dilman talks of a person’s ‘pull’ to-wards good or evil as moral gravity. This determining psychology is in all of us and is partly a product of inherited nature, nurture and environment.

“Simone Weil characterizes it as what is natural in us for more than one reason; partly because she thinks of it as combining elements which belong to human nature, in other words that part of our shared nature inherited from our ancestors.” (Dilman, 2005,p131)

Like illness our ‘demons’ are genetic. In observing the lives of families there is often a repeated pattern of behavior and outcomes of that behavior. In the TV program “Royal Deaths and disease” by Lion TV production company, (Release 2003) not only are the inherited diseases of the royal family charted down the centuries (hemophilia, bulimia etc) but also the vices are repeated from gluttony to lust. These vices and sicknesses are not unique to royal families but are inherent in all families.

“By you th’unborn shall have communionOf what we feel, and what does us befall.”Acroyd, Peter. Hawksmoor, 1985 (p47)

What is questioned in the research is could these genetic dramas be also present in place? Could ‘place’ have a character which

reappears as each generation of dwellers oc-cupies the territory?

WhitechapelOn Sunday 4th October 1936 in Cable Street Whitechapel Oswald Mosley infamously led an anti-Semitic march only to be met by 100,000 anti-fascist demonstrators. In Janu-ary 22, 2013 Muslim vigilantes proclaimed the same area (Whitechapel) a “Muslim area” The National Front demonstrated in the area at various dates including 1979. The area has “a history which Rachel Lichtenstein de-scribes,

“everyone’s and no ones domain’ but this does not stop its inhabitants trying to claim it as their own. “ On Brick Lane by Rachel Lichtenstein The Daily Telegraph 07/08/2007

London has experienced many wars through-out its history and its new battle phenomenon is described in numerous media articles as the ‘post code’ wars where gang is pitched against gang.

Old Kent RdThe route by which many went on pilgrim-age to Canterbury (mentioned in Chaucer’s Pilgrims Progress) and is now a road where there are more churches than pubs. These include Crossway United reformed church, Family life Christian center, Inspiration House etc. The road is the site of much evan-gelical activity.

The idea of ‘place’ having a character either good or bad is not so far-fetched.

“Come no nearer, He said. Take off your shoes, for the place on which you stand is holy ground” (Exodus 3:5)

In many countries it is common for land, houses, and businesses to be blessed or con-secrated or deconsecrated. Therefore for “place” to be free of evil there conversely must be land that is not free. This is a theme visited by past artists like William Blake. He was taken up with the idea of sacred Jeru-salem descending on profane land around Primrose Hill, Marylebone and Saint Johns Wood.

“London’s topography is evoked in unsettling specificity (as Crabb Robinson detected)” The Blake Book p131“The fields from Islington to Marylebone,To Primrose Hill and St Johns Wood:Were builded over with pillars of gold,And there Jerusalem’s pillars stood.” Wil-liam Blake ‘Jerusalem’

‘Saints’ Authors own artwork

William Hogarth is another artist who claimed to have seen the sacred amongst the profane, when he claimed to have seen angels in trees on Peckham Rye or his ob-servation of the prophet Ezekiel walking the streets of London.

DrawingIn Prof Stephen Farthings presentation on Drawing he presented a drawing of Rem-brandts’ “women teaching a toddler to walk” He stated that,

“Anyone can draw like this. It just takes lots of practice. Anyone can become a drawing machine”. Farthing, 2012

There is an element of truth to this. In the schedule of a maestro piano player, for sure, there is a lot of practice but can you imagine saying to such a musician that ‘anyone can play the piano like you, it just takes prac-tice’? Or describing a maestro, as a piano-playing machine?The process of practicing drawing is crucial for development and just like practicing an instrument regularly helps improve musical skills so is it important to cultivate an auto-matic drawing practice.In his book Automatic drawing by Austin Osman Spare & Fredrick Carter the artists promote this type of relentless, continuous drawing.

“This means of vital expression releases the fundamental static truths which are repressed by education and customary habit and lie dormant in the mind. It is the means of be-coming courageously individual; it implies spontaneity and disperses the cause of unrest and ennui” Spare (No page numbers)

The book promotes many interesting con-cepts though the final outcomes are some-what linked to the occult and are mystic in style. The occult will not be an avenue fol-lowed, but rather a more orthodox alliance is hoped for. Mystic inspired artwork is a desired outcome from the experimentation. This will be ambitious. However, Automatic Drawing has led to the discovery of a meth-odology, which answers an original research question. Can a form of meditative mysti-cism emanate from the practice of drawing?

In the life of a person endeavoring to proceed on a spiritual path, there is a lot of praying. In fact as mentioned in the book “The way of the Pilgrim” the pilgrim is fascinated by the exhortation to pray ceaselessly. He takes up a mental chant known as the ‘Jesus prayer’, which transforms his spiritual life. He is transfixed by St Paul’s admonition “to pray without ceasing”. (1 Thessalonians 5:17) This is a spiritual truth also promoted in the Philokalia a compilation of writings from the fourth to the fifteenth centuries. Christianity is not alone in this type of repetitive relent-less chanting. It is proposed that this spiritual technique be harnessed to a parallel drawing practice.

In conclusion, the methodologies of unit 2 would include the following;1-The psychogeographical wandering of London. Researching the symbols, statues and history of the city. Engaging with its past and contemporary narratives.2-The practice of cultivating automatic and relentless drawing in order to release new possibilities of expression.3-Parallel spiritual practices that may inform and inspire the narrative and expression of the drawing.

“…I would like to take a closer look at the pilgrims vision of reality, and especially at the process by which he arrives at the moun-tain and, in the words of Kahil Gibran, “see the beauty of the world,”(p viii)-Walter J Ciszek (Foreword. The way of the pilgrim)

B I B L I O G R A P H Y

Ackroyd, Peter (1985) Hawksmoor Penguin Books, London

Bacovcin Helen (2003) The way of a pilgrim, and the pilgrim continues his way. Double-day a division of Random House

Brotherton, David C/ Kontos, Louis (edited by) (2008) Encyclopedia of Gangs Green-wood Press

Carter, Fredrick & Osman Spare, Austin (2005) Automatic Drawing Thame, I-H-O Books

Coverley, Merlin (2010) Psychogeography, Pocket Essentials

Dilman, Ilham (2005) The Self the Soul and the Psychology of Good and Evil, London, New York: Routledge

Gloucester, Richard & White, Paul William (1971) On Public View Hutchinson & Co Ltd, London.

Myrone, Martin (2007) The Blake Book, London, Tate Publishing

St Nicodemus & St Makarios (compiled)(1983) The Philokalia ,the complete text. Macmillan

Darton & Longman (1974) The Jerusalem Bible, Darton, Longman & Todd Ltd, Lon-don

Tinniswood,Adrian (2001), His Inven-tion so fertile: A life of Christopher Wren, London:Oxford Press p31

Lichtenstein, Rachel (2007 Sept 1st) From

Jewish cockneys to City slickers Ian Thom-son admires an artist’s purposeful meander through the life of east London’s most my-thologized street. Telegraph Book review of Thomson, Ian On Brick Lane. Available from Nexis accessed through the UAL e-library accessed on 27/03/2013

Author Unknown (2007, Dec 31st) ‘Post-code’ gang rivalry suspected in street murder London Evening StandardAvailable from Nexis accessed through the UAL e-library accessed on 27/03/2013

Author Unknown (2013, Jan 30th) ‘Polish becomes England’s second language’ The Guardian NewspaperAvailable from Nexis accessed through the UAL e-library accessed on 09/04/2013“Royal Deaths and disease” by Lion TV production company. (Release 2003) Richard Bradley, Bill Locke Producers. Channel 4

Rome revealed’, National geographic pro-gram by ‘Kieran Bew

Prof Stephen Farthing, professor of drawing at the University of the Arts London, Chelsea college of Art. 16/11/2012. Chelsea College of Art.

Plan of the road from the City of Destruction to the Celestial City, engraved expressly for William’s Elegant Edition of The Pilgrims Progress,19th Century (engraving) Available from Bridgeman Education Library accessed via UAL e-library on 5th April 2013.

Mount of Perfection, after the drawing by St John of the Cross. Available from Bridge-man Education Library accessed via UAL e-library on 5th April 2013.

By Stephen Myers BA(Hons) FRSA

s.myers1@arts.ac.ukMA Drawing(Part Time)