{"id":1403,"date":"2010-05-12T21:11:00","date_gmt":"2010-05-13T02:11:00","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=1403"},"modified":"2014-12-15T00:14:51","modified_gmt":"2014-12-15T05:14:51","slug":"my-interview-with-yasuko","status":"publish","type":"post","link":"https:\/\/fredhatt.com\/blog\/2010\/05\/12\/my-interview-with-yasuko\/","title":{"rendered":"My Interview with Yasuko"},"content":{"rendered":"
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Yasuko Kasaki interviews Fred Hatt at CRS, May 1, 2010, photo by Satomi Kitahara<\/p><\/div>\n

At the May 1 opening of my solo exhibition “Healing Hands<\/a>” at CRS<\/a> in New York, I was interviewed by Yasuko Kasaki<\/a>, author, teacher, healer and founder of CRS, in their beautiful, newly renovated studio.<\/p>\n

The exhibit consisted of three bodies of work:\u00a0 “Healing Hands”, a series of color drawings based on the hands of the people who do healing work at CRS, “Heads”, larger than life-size portrait drawings, and “Chaos Compositions”, large scale, mostly multi-figure color drawings on black paper.\u00a0 The “Healing Hands” series remains on view at CRS through May 26, while the other two bodies of work were hung in the CRS studio for the opening on May 1 only. CRS Art Gallery Director Satomi Kitahara organized the event.\u00a0 See additional photos of the opening here<\/a>.<\/p>\n

The interview was part of the opening program, to introduce those interested in my artwork to my ideas and process.\u00a0 Just below the next photo is a full transcript of the interview.\u00a0 I have omitted the audience Q and A section to keep this to a reasonable length, but questioners brought up some interesting ideas that will be addressed in this blog soon.<\/p>\n

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Yasuko Kasaki interviews Fred Hatt at CRS, May 1, 2010, photo by Satomi Kitahara<\/p><\/div>\n

Yasuko Kasaki:\u00a0 We’ve set up this series named Artist’s Way.\u00a0 Do you know the book, The Artist’s Way<\/em><\/a>?\u00a0 Yeah, great book about process and how to progress our creative energy and so on.\u00a0 I’d like to let Fred talk about his secrets and his way of seeing things.\u00a0 First we should start with the Healing Hands, our exhibition.\u00a0 Those are the hands of healers, including mine.\u00a0 We do spiritual healing, and we see so-called energy.\u00a0 Energy is not actually the appropriate word, as a matter of fact.\u00a0 We are not seeing energy, but we see the quality of the spirit and mind and networking and flow, and connection and balance of the mind power or life force, or something like that.\u00a0 While we are doing this kind of healing, Fred, you see us and see something through your eyes.\u00a0 How do you see the energy?<\/p>\n

Fred Hatt:\u00a0 Those drawings were mostly done before and after the healing circles that you have here.\u00a0 The various healers that were models for the drawings\u00a0 would sit in meditation, so they were just sitting and focusing their own energy within and I was just sketching.<\/p>\n

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Healing Hands #8, 2010, by Fred Hatt<\/p><\/div>\n

I have always tried to see the human subject as energy rather than as an object.\u00a0 I don’t claim to have any clairvoyant ability or anything like that, but I have practiced life drawing with devotion and discipline over a long time.\u00a0 I go to two or three life drawing classes with timed poses every week.\u00a0 I’ve been doing that for about fifteen years.\u00a0 I’ve gotten to a level where the response of my hand is very quick.\u00a0 I think that what the lines of the drawing record are the movements of perception.\u00a0\u00a0 \u00a0I’m constantly looking, and as the eyes move and see a surface or notice some little thing, there’s a gesture of the hand that goes exactly with that.\u00a0 The closer the link is between the perceiving and the gesture, the more it picks up the energy or the movement of the act of perception.\u00a0 The act of perception is an interactive energetic or spiritual link with the person that I’m looking at.\u00a0 I think that intuitively it really captures something.<\/p>\n

I did sketches of the healers’ hands, then later I took them away and did some further work, colors and backgrounds, in my own studio.\u00a0 More imagination comes into that part of it, but that’s also an intuitive response to what I can see from the position of the hands.\u00a0 Every little thing expresses something about the person:\u00a0 the way they choose to show their hands, the way that they’re resting, every little movement – little fidgets and adjustments.\u00a0 All of those things are ways of perceiving some quality of the energy.\u00a0 You start to see things not so much as an object of solid matter, but as something that’s flowing.<\/p>\n

YK:\u00a0 I thought figurative painters study anatomy of the muscles and bones, but you don’t see those things?<\/p>\n

FH:\u00a0 Well, I do, and I have studied that kind of thing also of course.\u00a0 I’m fascinated with that.\u00a0 But I also thought that’s not the only kind of anatomy there is.\u00a0 I’m self-taught as an artist, so I just looked into anything I thought was interesting and relevant.\u00a0 \u00a0I learned about different ideas of the energy body, chakras and meridians and auras and all that kind of thing, because those systems are created by people who have focused on understanding the energy flow and the ways that different parts of the body are dynamically related, so there are insights to be had from any of that.\u00a0 But I don’t rigidly follow any of those things.\u00a0 I just take in as much information as possible and then try to respond intuitively in the moment, rather than systematically.<\/p>\n

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Healing Hands #9, 2010, by Fred Hatt<\/p><\/div>\n

YK:\u00a0 You say moment, but those hands are still, and those faces are still – but not still at all.\u00a0 They are moving, because you are drawing movement.\u00a0 So then, you are drawing and constantly changing, right?\u00a0 So change and movement – you just try to get everything on the paper.<\/p>\n

FH:\u00a0 Well, the model is basically still, although a living person is never really<\/em> still.\u00a0 Even if a model in an art class is trying to sit perfectly still, they’re breathing, the blood is flowing, the mind is working, the nerves are working.\u00a0\u00a0 There’s a lot of flowing energy going on.\u00a0 There’s also a lot of energy being exchanged between the model and the artist, because for the person posing, when you are being witnessed, when you feel that you are being seen, that really changes your experience.\u00a0 It makes everything you do, it makes your being<\/em> a communication, a sharing.\u00a0 I think of drawing also as a sharing.\u00a0 I feel like if someone is posing for me, that’s a generous act, letting me really look, letting me try to see as much as I can see of someone. \u00a0\u00a0I feel like I have to work as hard as I can, I have to put as much as I can put into it, to honor that.\u00a0 I want that to be a gift back.\u00a0 I think that a lot of artists are making work for the public or the critics or whoever.\u00a0 I always feel like I’m doing it for the models first.\u00a0 I want them to see how I see them.\u00a0 I want it to be a mutual sharing act.<\/p>\n

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Donna, 2009, by Fred Hatt<\/p><\/div>\n

YK:\u00a0 When I saw you for the first time here [at CRS], you were dancing here.\u00a0 [To audience] You know that he is a great dancer, great performer, he is so talented.\u00a0 And among other performers, he is really, I don’t want to use the word outstanding – outstanding too, but I don’t want to compare – but the quality of his performance is a little bit different.\u00a0 Other performers just showed us what they created, and said “See us.”\u00a0 But Fred’s way is “See?\u00a0 Can you see?\u00a0 Let’s see together.\u00a0 You can see this movement, you can see this light, see?\u00a0 It’s beautiful.\u00a0 See?\u00a0 You enjoy this?”\u00a0 Anything he does, his attitude is like that.\u00a0 [back to Fred] So sharing is all the time your\u00a0 core.\u00a0 And the gift is not from me to you, it’s just together.\u00a0 Let’s get this gift.\u00a0 This is your attitude.\u00a0 Great, I think.<\/p>\n

FH:\u00a0 Picasso said “Creativity is happiness.”\u00a0 I really believe that.<\/p>\n

<\/object><\/p>\n

Shadows<\/a> from Fred Hatt<\/a> on Vimeo<\/a>.<\/em><\/p>\n

(The video embedded above is a performance by Fred Hatt and Corinna Brown<\/a>, done at CRS in 2007.\u00a0 More info available here<\/a>.)<\/p>\n

YK:\u00a0 Can you talk about color?\u00a0 I see color in the energy field.\u00a0 But how do you see these colors? \u00a0I don’t think you perceive the same color, probably differently.<\/p>\n

FH:\u00a0 I don’t take the same approach to color all the time.\u00a0 In\u00a0 some of the heads, the portrait drawings here, if you look at them from a distance the color looks fairly realistic, it looks like skin tone, but if you look close, there are no skin tone colors there.\u00a0 It’s a lot of different colors kind of mixing in the eye.\u00a0 I’m actually trying to capture some sense of the color I see, with the idea that color is a relative rather than an absolute quality.\u00a0 Colors change according to what they’re next to, and the colors of something like human skin are so subtle that if you try to just copy the surface color it’s flat and dead looking, so I’m trying to find those subtle variations.\u00a0 Where the blood is closer to the surface you get pinker tones, for example.\u00a0 That sort of thing gives this feeling of what’s below the surface, the life.<\/p>\n

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Michael W, 2009, by Fred Hatt<\/p><\/div>\n

On these larger drawings with the multiple overlapping figures, I use color in a much more abstract way.\u00a0 I should describe the process.\u00a0 I work in my studio with a model.\u00a0 We start out doing quick poses, and I just do simple line drawings.\u00a0 I just grab colors at random.\u00a0 I have a big bowl of crayons, and I just use whatever I pull out.\u00a0 That way, once I have a huge mess of overlapping drawings, I can sort of follow one out of the mess by following the same color.\u00a0 It becomes a massive chaotic mess of lines that looks like nothing but static, and then I try to go into it and find order in the chaos.\u00a0 I develop parts of some of the figures, pull things forward, push things back, and find some kind of structure into it.\u00a0 It’s an improvisational process.\u00a0 This way of working creates these complex compositions which I would never be able to design.\u00a0 If I made preparatory sketches and tried to figure it all out on paper, I couldn’t do it.\u00a0 It only emerges from the process.<\/p>\n

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Seer, 2009, by Fred Hatt<\/p><\/div>\n

Another thing that’s interesting to me about these is that for the viewer, it requires a much more active kind of looking than a picture.\u00a0 If you look at the portrait drawings, that’s a picture.\u00a0 You see and grasp the whole image.\u00a0 It’s very direct.\u00a0 Most figurative artwork is like that.\u00a0 When you look at these more complex pieces, you look into<\/em> them and try to find what’s there and find the interesting juxtapositions that happen by chance.<\/p>\n

The color in these pieces is, in the beginning of the work, random, as are several other aspects of the process.\u00a0 In the later development stages, I choose colors just out of an aesthetic sense.\u00a0 The colors in these aren’t symbolic or anything like that, but they emerge in the process.\u00a0 I think just because they’re on black, the colors have this neon, or black velvet painting, quality of light.\u00a0 I like to draw on a darker surface, because I think I see the light first, then the shadows.\u00a0 If you draw on white paper you really have to start with the shadows.<\/p>\n

YK:\u00a0 What’s the difference between your seeing movement and drawing it, and your doing movement yourself, very different ways of expression as an artist?<\/p>\n

FH:\u00a0 My experience with movement and performance happened from just following my interests, because since I was self-taught I didn’t have any teacher telling me I need to go in a particular direction.\u00a0 I think most figurative artists are not interested in experimental performance art.\u00a0 At least, when I meet other figurative artists, and I tell them I’m interested in that sort of stuff, they’re like “Ugh.”\u00a0 But for me that experimental work was really interesting because the artists were treating the creative process as an experience, rather than as the production of an object.\u00a0 I think that’s a very interesting approach.\u00a0 Before the invention of photography, just the ability to create a realistic image was a form of magic.\u00a0 Images were rare and had power just in their illusion of reality.\u00a0 Nowadays, we live in a world where we’re bombarded with images constantly.\u00a0 There are screens and advertising everywhere you look.\u00a0 Images don’t, in themselves, have any magic at all any more.\u00a0 They’re just pollution.\u00a0 How do you get back to that feeling of it having magic and power?\u00a0 To me, these really experimental artists, the butoh artists, the people that were doing happenings and that kind of thing, were trying to approach that problem by giving people an experience that can transform your perception.<\/p>\n

I needed to incorporate this approach into my own exploration.\u00a0 I studied butoh dance and I did a lot of work with performance.\u00a0 \u00a0I had to eventually come back more to visual art and drawing because I felt like that’s where my talent was strongest, and it’s where I found that I had the ability to do a really disciplined practice.\u00a0 And I’m an introverted kind of person, so visual art is more natural for that.\u00a0 But I think that the experience of performing was about trying to find new states.\u00a0 To enter into a performing state is sort of shamanic.\u00a0 What I learned from that really does inform the way that I draw, because if I’m trying to capture someone’s movement or their inner states, my own experience of feeling movement informs it, at least intuitively.<\/p>\n

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Range, 2009, by Fred Hatt<\/p><\/div>\n

YK:\u00a0 You were doing really interesting and crazy things in New York City with the performers, gathering in the early morning and doing really crazy things and naked things.<\/p>\n

FH:\u00a0 I haven’t really done that kind of thing recently, but back in the 90’s, in the days before 9\/11, when there was no security anywhere, you could get away with anything in New York City, and we did.\u00a0 I think the specific thing you’re talking about is a series of performances in the summer of ’97.\u00a0 It was a collaboration that I worked out with Julie Atlas Muz, who is a well known burlesque performer and also a really good postmodern choreographer who did a lot of really creative and unusual performances.\u00a0 In that summer, every day that was a new moon or a full moon day, we would go out before dawn, with whatever other performers we could get to come with us, to some location around the city, the Staten Island Ferry, or Central Park, or Coney Island, some interesting location where there were a lot of things to interact with, and we did these interactive, improvisational happenings.\u00a0 Usually the only audience was people that we invited to come along and take pictures or video, but sometimes there were other people around, especially on the Staten Island Ferry where we sort of had a captive audience.\u00a0 The people that were performing could pretty much do whatever they wanted, but at that time of day, five o’clock in the morning, there is this incredible, powerful thing happening, the transformation of night into day.\u00a0 It’s a lighting effect that you couldn’t get from a theater lighting designer.\u00a0 If you had millions of dollars you couldn’t make something that amazing, and each time it was different.\u00a0 The birds are the rulers of that time, and they’re so loud, and human beings are so quiet.\u00a0 It’s the time when everyone is asleep, everyone is dreaming, and so even though you’re awake, you can be in a dream in the real world, because it’s the time when everyone is dreaming,\u00a0 That’s the predominant energy.\u00a0 Really amazing things happened in those performances.\u00a0 It was a struggle to get up really early in the morning and trek out to some place to do this thing, but then when we got done, we had to kill several hours before going to work or whatever.<\/p>\n

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Video capture from "Early Morning Dances: Belvedere Castle", 1997, performance by Julie Atlas Muz and Fred Hatt<\/p><\/div>\n

YK:\u00a0 Yeah, now there\u2019s security, everything has changed, but you are still open to happening.\u00a0 And happening is the same as miracles.\u00a0 You cannot make up a happening, but you can keep your mind open to happening.\u00a0 But to do so, I believe you need discipline.\u00a0 So your mind is really based on the steady, long discipline, I believe.\u00a0 So what kind of discipline are you keeping?<\/p>\n

FH:\u00a0 The regular life drawing classes I mentioned, I’m really devoted to that, and that’s a kind of a meditative practice, but it’s an active thing.\u00a0 I also have had a practice, not quite as disciplined I have to say, with movement.\u00a0 All of the practice is to get to that place where you are confident enough that you can just respond immediately without having to think about anything, without uncertainty.<\/p>\n

YK:\u00a0 How many years have you been doing so?<\/p>\n

FH:\u00a0 You know, that’s really hard to answer, because since I’m self-taught as an artist, people\u00a0 say, “How long have you been doing that, when did you start?”\u00a0 Well, I was drawing when I was a kid.\u00a0 It took me many years to kind of find my way in bits and pieces, and that’s just an impossible question to answer because there are so many different moments where you could say it started here, or it started there.\u00a0 The regular life drawing practice has been the most consistent thing, and that started in the mid-90’s, but before that I was also doing a lot of creative things, but I was just a little bit unfocused,\u00a0 I would be writing poetry for a while, and then I’d lose my inspiration, and I’d start to do painting, and then I’d do that until I just felt like I was doing the same thing all the time, and then I’d stop and I’d start making films or something.\u00a0 It took me a while to realize that I wasn’t going to get anywhere that way.\u00a0 I think my youthful idea was that art was about being in an inspired state, and over time I realized it\u2019s really more about steady work and discipline.\u00a0 The inspired state is not so much about something that strikes you from the clouds, but more like really long work on changing the way that you experience the world, so that it’s experienced as magical.<\/p>\n

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Auricle, 2008, by Fred Hatt<\/p><\/div>\n

YK:\u00a0 Do you know even Picasso tried to write a poem?\u00a0 He was struggling from painting and one day thought, writing looks much easier, and he wrote some poems and recited in front of friends, and Gertrude Stein said “Stop it!\u00a0 Go back to painting.\u00a0 At least your painting is better than your poems!”<\/p>\n

FH:\u00a0 One thing I think I learned from deciding to be dedicated to practice is that when you feel frustrated, that’s not a bad thing, because usually when you feel frustrated, it’s not going very well, what that really means is somewhere on the inside you’ve already moved up to another level.\u00a0 You just aren’t able to do it yet.\u00a0 So if you just keep going, you will reach that level.<\/p>\n

YK:\u00a0 So to say something as the artist is to go beyond perception.\u00a0 So beyond perception is to try to reach vision, and reaching vision is always a happy experience, but somehow we are scared at happiness itself.\u00a0 So that’s why you are training yourself to be happy, happy, to get used to the happy experience.\u00a0 That’s why we can’t stop joining you.\u00a0 Your art is like that for me.<\/p>\n

But I can answer what you couldn’t answer by yourself, when you started drawing.\u00a0 It’s 1961. [Holds up copy of drawing]\u00a0 This is Jos\u00e9 Greco.\u00a0 Fred Hatt, three year old boy, just saw flamenco, and somehow, he drew it.\u00a0 This is his first – it’s amazing.<\/p>\n

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Jos\u00e9 Greco Dancing in Purple Boots, 1961, by Fred Hatt<\/p><\/div>\n

FH:\u00a0 The story of that:\u00a0 I was a well-behaved little child, and I was the first child, and my parents were young, they were really interested in cultural events, and they could get away with bringing me, because I didn’t make noise, so they took me to all these things.\u00a0 They took me to see this famous flamenco dancer of the time, Jos\u00e9 Greco<\/a>.\u00a0 I was so turned on by that, because it had stomping, and it was passionate, and I had never encountered anything like that before, so I drew that.\u00a0 I rediscovered that drawing when I was around 40 years old.\u00a0 I had finally come to the point I was really developing my visual art, and I was running these movement drawing classes where we had the models moving instead of standing still, and artists that were willing to try that would try to capture the feeling of movement, and I was working with a lot of dancers and performers.\u00a0 I went back and visited my parents and I decided to look for the old artwork that they saved, and that’s the earliest thing.\u00a0 I thought, wow, look at this:\u00a0 I was three and I already was inspired by movement and dance, and the way I was trying to capture it was scribbling with crayons!\u00a0 And it took me almost forty years to find my way back!<\/p>\n

(An earlier blog post<\/a> also tells the story of the Jos\u00e9 Greco drawing).<\/p>\n

Here’s a panoramic view showing the large works in the CRS Studio.\u00a0 You may need to scroll to the right to see it all.<\/p>\n

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Panorama of exhibit in CRS Studio, 2010, photo by Fred Hatt<\/p><\/div>\n

The Healing Hands drawings are 18 3\/8″ x 24 1\/2″.\u00a0 The Heads (portraits) are 50 cm x 70 cm.\u00a0 The larger works seen above range from 36″ x 48″ to 60″ x 60″.\u00a0 All works are aquarelle on paper.<\/p>\n","protected":false},"excerpt":{"rendered":"

At the May 1 opening of my solo exhibition “Healing Hands” at CRS in New York, I was interviewed by Yasuko Kasaki, author, teacher, healer and founder of CRS, in their beautiful, newly renovated studio. 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