beinArt Interview with Chris Mars by Lana Gentry
In a sea of art dominated by feigned darkness, comes a darkness so real you can taste it. In this malignant swirl of smoke, concrete, wood and blood, there’s a palpable world where one can sense before even being told, that a great deal of suffering has transpired. It is here, that one can feel it’s channel to the hands of the victim. For the sensitive and feeling, to watch the suffering of another and to empathically carry the pain of a loved one is indeed to feel the ultimate pain. To reach into the universe of a mentally ill loved one is to reach without hands, and without hope of ever fully consummating that connection. It is a darkness one can only know if one has travelled that road, empty of all light. Drummer and brilliant former member of The Replacements, Chris Mars has travelled that road, lighting only the way with a dimly lit torch of self expression. It is obvious that one cannot speak of his work, without speaking of its gut wrenching inspiration. Look, listen and feel the sorrow of his visual words. To be enlightened is not always easy, but a necessary lot of the artist who creates with a sense of purpose. From the viewer’s end, it then becomes difficult to escape the tormented message rendered so clearly by the hands of the fantastically emotive Chris Mars.
“Joe’s life has opened my eyes to the suffering and corruption brought about by a lack of understanding and a fear of “The Other”. Though at times it all seems too much to fathom, I do find joy in attempting to give what voice I can to those who suffer, or are persecuted.” – Chris Mars
Lana Gentry- Please tell us about your brother.
Chris Mars- Thank you for the very kind and eloquent introduction. My brother Joe is 60. My parents are deceased and Joe lives with another brother who looks after his daily needs. Joe is hanging in there and coping as well as he can. He has good days and bad days, like anyone and likes to get out for coffee and smokes when I see him. They recently upped his medication and I have noticed a change for the better; he seems a bit more relaxed and a little less burdened day to day by his schizophrenia.
LG- Had you any prior knowledge of schizophrenia before his untimely and tragic diagnosis?
CM- Joe was diagnosed when I was quite young. At the time I had little understanding of the source of his suffering. His schizophrenia was episodic so there would be periods of time when it was less prevalent and we as siblings would all bond together as any would. Then Joe would suffer prolonged changes that were very confusing and sad. I had heard the word “schizophrenia” before but Joe’s problems were usually referred to as “a nervous breakdown”. It was hard to see him have to suffer, it still is. I can not imagine his day to day burden; I can only try to lend some comfort.
LG- Your images appear bandaged, broken and bruised. Are they expressions of your own suffering as well as your brothers, or can you even separate the two?
CM- When I paint I think it is more of an attempt to channel Joe’s trials and the trials of those (in various ways) like him. Joe’s life has opened my eyes to the suffering and corruption brought about by a lack of understanding and a fear of “The Other”. Though at times it all seems too much to fathom, I do find joy in attempting to give what voice I can to those who suffer, or are persecuted. I generally feel peaceful, but also very passionate in expressing these themes. I feel I do my best work when I am happy and excited and connected to the mystery of a painting that is unfolding. There is pleasure in tapping into things that are not so pleasant knowing or hoping that a universal message is passed on, as to create some awareness that might add to peacefulness on the whole. I think I would feel more grief if I didn’t express these themes through painting. It is my great outlet.
LG- You also carry a certain amount of political content in your work. Do you support the idea of political expression in art even when it carries an opinion with which you do not necessarily agree?
CM- Yes I support freedom of expression in its many forms – painting, music, film, writing, speech, demonstration and so on. I am glad to see others take the time and energy to express themselves in so many various ways; I wish everyone did this, tapped into the creative flow that is in us all in so many forms. I don’t care what people express creatively, just that they do.
LG- In ‘Motoring via Audio Delusions’ (right) there is a clear theme of schizophrenia. Was this relating to a particular incident with your brother, or an overall viewed expression of the state?
CM- Actually, the piece is more based in Mass Media – a sort of psychosis, one might say! I recently wrote an essay on the piece for the collector who purchased it:
Motoring Via Audio Delusions
Spewing forth from the car radio
the oversaturated audio din begins to
morph. The driver is a vampire
in constant need of a titillating,
a tit-for-tat fix
from fresh talk radio flesh.
The meat delivered is tainted with
the poison of manipulation.
Diminished fact wrapped inside of
fear-filled lies gives way to
listener delusion; it is as if the
lonely driver now imagines
the bickering,
the death obsessed,
the clowns,
are actually in the vehicle with him.
Will the driver eventually feel the very
very angry little man who now rides shotgun?
LG- Goes to show you… interpretation is always subjective, even when the perceiver thinks he has it clearly figured out! In your piece ‘Like Moths’ (right), your characters appear cold and hungry, clinging to a small source of fiery warmth before them. What emotion provoked this tragic piece?
CM- “Like Moths” to me is an optimistic piece, though it may not appear so at first glance. My Idea is that this group of figures huddled and with the hue of white, pale worms have just suffered a destructive blow to their environment, possibly due to war, or neglect, or both. To me they are not yet moths but are like them in that they are attracted to the light that glows in the aftermath darkness. In their current form, they are blind as worms but they move toward the warmth, yearning for something better, some transformation. This is a group that is about to undergo a metamorphosis where sight is at last achieved and new wings carry them to a newfound freedom.
LG- Do you believe any progress has been made in the way of treating persons suffering from mental illness in recent years?
CM- Yes. I think that understanding, therapy and medications have advanced so those suffering can have a better chance at wellness. However there is the dark side, greed of a Medical Industry bent on wealth; trumping well-being, patience, compassion. Medications are too often prescribed to treat symptoms at the expense of addressing the core of a problem, or substituting for human things like interaction, education, discussion, nutrition, lifestyle. On the whole though, I am hopeful that progress is being made. I believe if my brother’s illness struck today instead of forty years ago, there would be better tools available for him to learn about and cope with his illness.
LG- Do you believe that ongoing legally forced medication would be a viable option in treating those who simply refuse, through their delusion, to take what they need?
CM- I honestly haven’t given this issue much thought. Throughout his adult life, my brother has remained ultimately autonomous regarding his medication, and I would not seek to have it any other way. Sometimes his illness spurred behaviours that were difficult or inconvenient for us as a family, but Joe is a man, and his illness does not negate this. He has domain over his own body.
LG- What do you hope the average person can glean from your art as it relates to the state of human suffering?
CM- First and foremost I create out of my own need to express myself. Beyond this, if what I do can create a dialogue in any small way to further awareness toward those who suffer due to a lack of understanding on a personal or cultural level, I would be more than happy to know I contributed to a movement that might serve to erode barriers.
LG- Tell us about any interesting film or music projects in the works.
CM- I am currently digging into another short film project called “Flowers for Jupiter”, based on a poem written by my wife Sally Mars. It will be a mix of live action and animation. It will be a dark but playful little movie and I hope to have it done this summer.
LG- It’s a wonderful and natural thought that you have collaborated with your wife on something creative. Tell us where to look for you next.
JANUARY 22 THRU FEBRUARY 21, 2010 – The Phipps Center for the Arts, 109 Locust Street, Hudson, WI 54016
FEBRUARY 27 THRU MARCH 27, 2010 – Jonathan LeVine Gallery Anniversary Show (Group Exhibition) – Jonathan LeVine Gallery, 529 W. 20th St., 9E, New York, NY 10011
MARCH 13 THRU APRIL 4, 2010 – Hi-Fructose Group Show – CoproGallery, Bergamot Station Art Complex, 2525 Michigan Ave Unit T5, Santa Monica, CA 90404
MARCH 19 THRU AUGUST 1, 2010 – Mesa Contemporary Arts, 1 East Main Street, Mesa, AZ 85211-1466
SEPTEMBER 4 THRU OCTOBER 17, 2010 – SUGGESTIVISM (Group Exhibition) – Grand Central Art Center, California State University, Fullerton, Santa Ana, CA 92701
CM- Thank you Lana, Jon and all at Beinart for your continued interest, support and for these great questions. Also thank you for the very eloquently written introduction I really do appreciate it!
Images (from top):
The Expense of Incestuous Relations, 2009, Oil on Panel, 19 x 14 inches
Healing By Was of the Ace of Blurred Matter, 2009, Oil on Panel, 18 x 22 inches
Motoring via Audio Delusions, 2008, Oil on Panel, 6 x 8 inches
Something Empty, 2009, Oil on Panel, 18 x 22 inches
Like Moths, 2008, Oil on Panel, 15 x 16.5 inches
Sorry The Clown, 2009, Oil on Panel, 19 x 5 x 14 inches
Chris Mars is one of 50 Artists featured in Metamorphosis 2 (beinArt Publishing).
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