The title is taken from the meditation workshop, Slow Dancing with Art: Mindfulness and Art. The workshop is being held at my late brother, Wesley Tongson’s exhibit. The instructor teaches techniques that engage the mind and body with the art. This immediately peeked my interest when I first read about the program. Since the workshop is in San Francisco and I am on the east coast, I cannot join. Yet, I am interested to know about the experience of the participants. I was amazed reading some of the feedbacks. Now, I wanted to experience what the others had in front of my brother’s 6’ and 8’ paintings.
There was no large scale painting for me to do this with. I opened my computer to bring up the image of Pine 3, enlarging it on my big screen. This painting has become my favorite at the exhibition. It has so much vitality. I thought a good piece for me to start with. Wesley painted with his fingers, fingernails and hands instead of a brush. I could trace his movements easily and see where he applied his nails. I looked at the painting for a while and then I started moving my fingers, hands and body, tracing each brush stroke. It was easy to follow. I did not know what to expect, the feeling was quite extraordinary.
I found myself lost in the painting, following every stroke. Starting from the the trunk, I was comfortable moving up, feeling very fluid. But when I got to the clumps of needles, I could feel the intensity of how Wesley did the pine needles. The feeling there was very tense for me, I felt uncomfortable, I didn’t like the feeling but I continued on. May be I was feeling the emotion Wesley was expressing at the time. I had goosebumps all over, it was a bit chilling. From the pine needles, I climbed back down the trunk. After I finished, I sat down and took a few minutes to let my mind come down. A sense of calm came over me as if I had finished a meditation. I felt relaxed, even energized. I do admit I have a connection with my brother but this was all from a photograph! And I haven’t had proper instructions yet.
I cannot imagine what it would be like to do this in front of the actual painting. This exercise has taught me a new way to look at art. I had already learned to look at art with an open mind, to look beyond the surface. But I had no idea bringing mind, body and art together could add so much more to the experience of viewing a painting. Wesley had always wanted the viewer to look beyond the surface and feel the spirit behind his work. With physical engagement, one can go much deeper. The best way to view art is not to use our eyes only.
I wish I have a chance one day to join this workshop, to learn more about the techniques. Meantime, I cannot promise I can stand still looking at a painting ever again.
