I first became aware of the existence of Rufus Wainright at the same time I was being irrationally annoyed by Moulin Rouge (and look at me now, yeah?) and his whole "I am the only gay person ever" thing really got on my nerves. Now that he seems to have grown up a bit, I find his awkwardness with himself coupled with his weird self-promoting instincts really charming.
I am so interested about your father-son remark. What makes this so in your mind? As none of the original examples I came up with involve that directly (although there's argument for indirect involvement in a couple of them). It makes me think of Michael, who was arguable an artist, and his father who was not an artist other than teh pumpkins he painted at Christmas, but how much of Michael's creative drive stemmed from that part of the family conflict. For me, and I think it's clear in my initial examples, my artistic family thingy comes from some odd sense of the sacred marriage. Of course, these things make sense in both our cases -- you watched your brother from afar as if he were a mystical being barred to you and I watched my parents and their painting, also mystical and barred to me both because it was not my art of choice and because their marriage always took clear precedence over me.
I am also interested in how much of your logistical framework seems to be more about how to live so you don't get subsummed by the needs of other artists than it is about facilitating your own art, or roping others into your direct artistic needs. I am also interested in the scale -- this sounds like a village as opposed to a household.
So to what degree are you willing to act on your fantasy about all this? To what degree are you acting on it?
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Date: 2005-07-14 01:03 am (UTC)I am so interested about your father-son remark. What makes this so in your mind? As none of the original examples I came up with involve that directly (although there's argument for indirect involvement in a couple of them). It makes me think of Michael, who was arguable an artist, and his father who was not an artist other than teh pumpkins he painted at Christmas, but how much of Michael's creative drive stemmed from that part of the family conflict. For me, and I think it's clear in my initial examples, my artistic family thingy comes from some odd sense of the sacred marriage. Of course, these things make sense in both our cases -- you watched your brother from afar as if he were a mystical being barred to you and I watched my parents and their painting, also mystical and barred to me both because it was not my art of choice and because their marriage always took clear precedence over me.
I am also interested in how much of your logistical framework seems to be more about how to live so you don't get subsummed by the needs of other artists than it is about facilitating your own art, or roping others into your direct artistic needs. I am also interested in the scale -- this sounds like a village as opposed to a household.
So to what degree are you willing to act on your fantasy about all this? To what degree are you acting on it?