• Christopher G. Moore

The Impatient Artist

Over the past two years I’ve explored the idea of foreign painter working in Bangkok in three different media. I wanted to go beyond my usual boundaries. My goal was the link the three media together and to use different ways of expressing the story as if it were a prism and light reflecting slightly differently as you turn it around. I’ve completed the mission with an essay, a novel and a documentary.

During this time of exploration, my experience has been enriched through collaboration with friends in Bangkok and Phnom Penh art community on creative expressions and creative communities—the junctures where writers, artists, film makers converge. Notable among them are Keith Nolan (music) and Edwin van Doorn (filmmaker), and Peter Klashorst (painter).

The three sides of the prism: my Lucian Freud my latest novel Jumpers and a documentary film The Impatient Artist in which I interviewed Peter Klashorst. Together the works show how my work overlaps, one feeding the others, and an interconnection that makes them the same work from different perspectives.

Martin Gayford’s The Man in a Blue Scarf inspired the premise of the film. Gayford documented the Lucien Freud, an artist, in real time. He created a line of communication between the subject of the painting and the painter. The idea was to record the thoughts, associations, feelings, and idea exchanged between the painter and his sitter. Rather than the traditional sitter who is a passive object to be observed, Gayford actively engaged Lucien Freud in a dialogue over an 18-month period. They discussed creativity, history, art, family and style.

An excerpt from my Lucian Freud essay about Gayford’s book:

“Gayford’s lesson in sitting for Lucian Freud is that we are different every day. Every hour of every day. Our mood, temperament, our interests fade in and out, cancelling one another, and that leaves us with the sinking feeling of unreality. It is not possible for the artist to capture the ‘real’ you because that person is in constant transition. Underneath the mask we wear is someone who is in flux. Persona from the Greeks was a reference to our mask. The one we put on at home, school, office, or inside the car or at a restaurant, or on Skype video calls. We have a certain face for the camera. For looking in the mirror. For displaying to our loved ones and for strangers.”

The Impatient Artist captures the dialogue between a novelist and painter over the course of one day. But what a day it was. Peter opening up about his artistic history, views, and ideas as he painted my portrait. At the end of the day, Peter had the basics of my portrait, one he painted in the style of Lucian Freud. And I had the basics for a novel.

During the filming, Peter Klashorst painted this portrait.

The experience of filming Peter Klashorst inspired Jumpers, the most recent (No. 16th) Calvino novel, which is about a young Canadian painter and the women he painted.

People asked what comes next to update the reading experience. For me 2016 has been an experiment with the idea of bringing the reader into the creative process through words and visual images.

The invitation is to watch the film, read Jumpers afterwards and if you want to go that extra mile, also read Gayford’s The Man in a Blue Scarf.

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