Written by Frank Moore January 19, 2000. Published in Lummox Journal, March 2000.
An artist starts, let’s say, a painting with a set idea of what he is going to paint. Sooner or later he makes a “mistake” — a color or a line which doesn’t fit in the original idea — which “ruins” the painting. When this happens most people give up, thinking that they are not cut out to be artists, and withdraw back into the common existence. Others try to pretend that they didn’t make the mistake, that the color or line isn’t there on the canvas. They go on painting as before. When they are done, they have painted the shadow of what they wanted. Moreover, this shadow is covered with a haze. Others keep starting over whenever they make mistakes, not accepting any mistakes. They are rewarded for their endurance with the perfect copy of the thought form which they had held for all this time. They are rewarded by what they think they want to create. Their thought form has been brought down into the material plane. The creation is perfect. But it is not a masterpiece. It is perfect within the limitations placed around it by the rigidness of the artist. The work is perfect, but not free.
A masterpiece is perfect and free. The master artist paints an adventure in color, words, or notes. What others see as mistakes, he sees as challenges, boxes out of which he has worked as the basis on which he creates a totally new, fresh pattern. These challenges, boxes, keystones, keep appearing as he works, demanding the artist’s flexibility. If the artist looks back, trying to hold on to what he thought the painting was or would be, he gets trapped in a box out of which he must battle or be turned into a rigid, bitter pillar of salt. The artist has to keep his whole attention on the swirling colors in front of him in order to be the creator.
To create a masterpiece, the artist has to use and risk every bit of himself. But he also has to create with God, for God is the one who creates what most people call mistakes, and that the master artist sees as his tools and materials. God does not create for the artist. God just provides the tools, the guiding bumps. It is up to the artist’s free will whether he creates or gets dragged down by the weight of the tools. When the artist is creating, he feels no weight.
The most important masterpiece is a lifetime. This is a statement of hard fact. Creating a masterpiece in every day living is governed by the same rules as creating a masterpiece in paint, but much harder because the artist is also the canvas. In every period of time, in every land, there are a few masterpieces of art and writing. But a masterpiece lifetime is much rarer.
In 1988, Frank was one of a few artists who was invited by High Performance magazine to contribute a statement on the subject of “The Function Of The Arts In Culture Today”. Here is the piece that Frank wrote:
Art can be to pacify, to make money, to decorate, to entertain. But I am committed to art as an underground war against fragmentation on all realities. This should be the position of avant-garde art. The goal of this art should be to create alternatives to the fragmented society.
As artists our tools are magic, our bodies, taboos and dreams. We need to be warriors who will go into the areas of taboo, will push beyond where it is comfortable and safe. We must be idealists, willing to live ideals.
In the past 20 years, the calling of art has become the career of art. The passion and idealism became the studying of the trends of what will be “in” next. The passionate vulnerability that creates magic was replaced by a cool and clever intellectualism. We got seduced by high tech…seduced by the modern media, by the quest for large audiences.
Performance is being ruined by trying to package it as off-beat cabaret entertainment. Some performance fits into this slot. But when most performance is forced into neat cabaret format, making performance acceptable and profitable, performance becomes a hip form of nightclub watching, groovy TV watching. Performance is being limited in time and space for acceptability. Performance is in danger of becoming society’s lapdog, instead of a magical lab.
Art is the way society dreams, the way society expands its freedom, explores the forbidden in safety. Society needs its dream art, just as an individual needs to dream or go insane. Our fragmented world needs taboo-breaking dreams to get back to freedom. Our society is at a fork in its growth. It can go deeper into high tech impersonal isolation, or it can rediscover the magic that happens when physical and emotional humans actively and directly link up with one another. Art can either just follow society, recording the trends, or it can take a pathfinder role. We artists must not make cynical statements from our inner worlds about how fucked up the rest of society is. We must create alternative community realities in which people can be actively involved.
Here is the letter they sent inviting him to contribute:
Here is Frank’s article as it appeared in the magazine:
Re: The Drama Review Eroplay 1989
“I have finally read the Drama Review piece and I love it. It is one of the profoundest pieces of writing on performance or theatre or just plain living that I have read ever. Period. Something to read and think about over and over again. I am so tired of the new of the fast of the whats next — they are killing our souls. I can’t call what you have written an essay but a love song to society — makes total sense to me on the deepest most un-speakable levels. How you deal with the unconscious working side by side the conscious — as you say like two films going on at once. If you never write another thing, Frank, it won’t matter because this piece is luminous. And believe me I have read so many manifestos, essays critiques, artist statements ad nauseum over the years. It’s a beautiful generous manifesto and I look forward to reading more — it also has this beautiful slow pace as if forcing the mind of the reader to change pace as well and let the other world come to the forefront — the cartography of the soul is where you take us…each in our own way…rather than your way…which is generous indeed of you.”
Shelley Berc, writer, teacher
As published in The Drama Review (TDR), Spring 1989. During this period, before accessibility software was available to him, Frank typed in all caps. TDR also published the piece in all caps.
MY FIRST STROKE OF GOOD LUCK WAS I WAS BORN SPASTIC, UNABLE TO WALK OR TALK. ADD TO THIS GOOD FORTUNE THE FACT THAT MY FORMATIVE YEARS WERE IN THE ‘60S—MY FATE WAS ASSURED!
YES, I ALWAYS HAVE BEEN LUCKY. I HAVE A BODY THAT IS IDEAL FOR A PERFORMANCE ARTIST. AND I HAVE ALWAYS WANTED TO BE A PERFORMER. WHEN I WAS A KID, MY YOUNGER BROTHER USED TO GET MAD WHEN PEOPLE LOOKED AT ME WHEN HE PUSHED ME TO THE MOVIES OR TO THE TEEN CLUB. HE CRIED. BUT I LIKED PEOPLE LOOKING AT ME. THAT IS WHAT I MEAN BY “I AM LUCKY.” I AM LUCKY I AM AN EXHIBITIONIST IN THIS BODY. ONE TIME, I WAS WORKING OUT ON THE JUNGLE GYM OUTSIDE OF OUR HOUSE—A KID CAME BY AND ASKED IF I WAS A MONSTER. I JUST ROARED LIKE A MONSTER. IT WAS FUN.
I WAS LUCKY. I WAS NEVER UNDER PRESSURE TO BE GOOD AT ANYTHING, TO MAKE MONEY, TO MAKE IT IN “THE REAL WORLD”, TO BE POLISHED—OR THE OTHER DISTRACTIONS THAT OTHER MODERN ARTISTS HAVE TO, OR THINK THEY HAVE TO DEAL WITH. SO I COULD FOCUS ON HAVING FUN, ON GOING INTO TABOO AREAS WHERE MAGICAL CHANGE CAN BE EVOKED. IN FACT, A MAJOR REASON WHY I AM WRITING THIS IS TO ENCOURAGE ARTISTS WHO HAVE NOT BEEN SO BLESSED WITH BODIES THAT MARK THEM AS MISFITS, TO ASPIRE TO BE MISFITS ANYWAY, TO DO MISFIT ART ANYWAY—EVEN IF YOU ARE HANDICAPPED BY YOUR NORMAL BODY. YOUR ROAD IS DEFINITELY HARDER THAN MY ROAD. BUT THAT’S LIFE.
MY ART IS ROOTED IN BREAKING OUT OF ISOLATION. UNTIL I WAS 17, I DID NOT HAVE ANY WAY TO COMMUNICATE EXCEPT THROUGH MY FAMILY MEMBERS. FOR A COUPLE OF MY TEENAGE YEARS, I WAS VERY HARD OF HEARING. MY HEARING CLEARED UP. I INVENTED MY HEADPOINTER WHEN I WAS 17. MY COMMUNICATION ISOLATION WAS THEN DISPELLED. BUT IT TOOK ME ANOTHER 10 YEARS TO SHAKE OFF THE ISOLATION CAUSED BY MY ATTITUDES AND SELF-IMAGE. THIS EARLY ISOLATION ALLOWED ME TO OBSERVE LIFE AND PEOPLE AS AN OUTSIDER. I ALWAYS WANTED TO BREAK PHYSICAL, EMOTIONAL, AND SPIRITUAL ISOLATION—FIRST FOR MYSELF, BUT THEN FOR OTHER PEOPLE.
THERE ARE OTHER ADVANTAGES TO MY BODY. PEOPLE PROJECT ONTO ME CERTAIN MYSTICAL POWERS—LIKE SEEING THROUGH THEIR FRONTS TO THEIR REAL SELVES —SEEING THE PAST AND THE FUTURE—AND WHAT THEY SHOULD DO. THEY ARE REACTING TO SOME SYMBOL OF THE DEFORMED MEDICINE MAN. THEY USE ME AS A MEDIUM FOR GETTING THROUGH TO OTHER DIMENSIONS. BECAUSE OF THE SLOWNESS OF MY COMMUNICATION BOARD, THEY ARE FORCED TO SLOW DOWN. THEY CAN PROJECT WHATEVER THEY WANT, MISREAD ME WHEN IT FITS THEM. I AM A SYMBOL. AND BECAUSE THEY GIVE ME POWER AS A SYMBOL, THEY ARE AFRAID OF ME. IT WAS JUST MY LUCK TO BE BORN INTO THE LONG TRADITION OF THE DEFORMED SHAMAN, THE WOUNDED HEALER, THE BLIND PROPHET, THE CLUB-FOOTED “IDIOT” COURT JESTER.
THERE ARE ALL KINDS OF ART. THERE IS ART THAT CALMS, ART THAT PACIFIES, ART THAT SELLS, ART THAT DECORATES, ART THAT ENTERTAINS. BUT WHAT I AM COMMITTED TO IS ART AS A BATTLE, AN UNDERGROUND WAR AGAINST FRAGMENTATION. THE BATTLE IS ON ALL REALITIES. THE CONTROLLERS HAVE ALWAYS TRIED TO FRAGMENT US FROM EACH OTHER. IMPRISON US IN ISLANDS OF SEX, COLOR, RELIGION, POLITICS, CLASS, LABELS, ETC., ETC., ETC., ETC., ETC.—THEY FRAGMENT OUR INNER WORLDS, THEY BLOW OUR INDIVIDUAL REALITIES APART AND PLAY THE PIECES AGAINST ONE ANOTHER. THEY ARE US, OR A PART OF US. THEY ARE THE CONTROLLERS, THE POLITICIANS, THE SEXISTS, THE WOMEN’S LIBBERS, THE PORNOGRAPHERS, THE CENSORS, THE MORALISTS, THE CHURCH, THE MEDIA, THE BUSINESSMEN, EDUCATORS, THE VICTIMS, AND THE POWERFUL.
THEY ARE US.
I THINK PERFORMANCE IS BEING RUINED BY TRYING TO PACKAGE IT AS ENTERTAINMENT, AS OFF-BEAT CABARET. WHEN SOMEONE GOES TO A CABARET, HE KNOWS THERE ARE CERTAIN LIMITS INVOLVED SUCH AS THAT EACH ACT MUST END BEFORE ANOTHER BEGINS; BUT IN PERFORMANCE, ANYTHING IS POSSIBLE. A PERFORMANCE CAN LAST FOR A MINUTE OR IT CAN LAST FOR DAYS. PERFORMANCE CAN START IN ONE SPACE BUT THEN MOVE TO ANOTHER. PERFORMANCE CAN BE STORYTELLING, IT CAN BE A GUY THREATENING YOU WITH A BASEBALL BAT, IT CAN BE A GUY HANGING BY HIS SKIN, OR THROWING FOOD, OR ANYTHING. IN PERFORMANCE ALL THINGS ARE POSSIBLE. AND THAT IS WHAT GIVES YOU AN EXTRA EDGE TO CREATE DREAMS.
PERFORMANCE, LIKE ANY AVANT-GARDE ART, IS THE WAY SOCIETY DREAMS; IT IS THE WAY SOCIETY EXPANDS ITS FREEDOM, EXPLORES THE FORBIDDEN.
THIS WAS WHAT SEALED ME INTO A PERFORMANCE LIFE.
IN 1972 I HAD JUST FINISHED TAKING A VERY INTENSIVE FILM COURSE IN SANTA FE. I HAD NO MONEY TO MAKE REAL FILMS. SO I STARTED LOOKING FOR A WAY TO WORK WITH PEOPLE. I WANTED TO SEE PEOPLE NUDE, AND TOUCH THEM, AND CREATE AN INTENSITY BETWEEN US. PAINTING WAS THE FIRST ATTEMPT. I USED TO SELL PAPERS ON A CORNER TO FIND PEOPLE TO PAINT. BUT ONCE THE PERSON WAS POSED THE SITUATION WAS STILL, NOT MOVING. SO I DID WHAT I CALLED NONFILMS—FOR WHICH I ASKED PEOPLE I MET WHEN I WAS SELLING NEWSPAPERS TO ACT OUT INTENSIVE EROTIC SCENES WITH ME. ALTHOUGH I HAD PLAYED WITH MY FRIENDS BEFORE IN NONSEXUAL EROTICISM, THIS WAS THE FIRST TIME I TRIED TO USE “SEXUAL” ACTS IN A NONSEXUAL ART FORM. I WAS SURPRISED WITH THE POWER THAT THIS RELEASED. BECAUSE OF THESE SCENES, THE PEOPLE STARTED TALKING ABOUT THEIR LIVES DURING THE SESSIONS AND SAID IT HELPED THEIR OTHER RELATIONSHIPS. NOT ONE PERSON MINDED THAT THERE WAS NO FILM. THESE NONFILMS WERE THE BASE FOR MY CAREER IN RELATIONSHIP COUNSELING IN THE LATE ‘70S.
BUT I WAS NOT SATISFIED WITH THESE NONFILMS BECAUSE THEY WERE BRIEF RELATIONSHIPS THAT DID NOT GO ANYWHERE. SO I STARTED LOOKING FOR SOME OTHER WAY TO WORK WITH PEOPLE. I TRIED TO CAST A PLAY, BUT I COULDN’T FIND ENOUGH PEOPLE. I STARTED THINKING OF AN INTIMATE THEATRE WHERE THE LINE BETWEEN AUDIENCE AND ACTORS WOULD BE ERASED. I STARTED THINKING ABOUT HOW IF THAT LINE WERE ERASED, IT WOULD PLACE MUCH MORE RESPONSIBILITY ON THE ACTORS. THEY WOULD HAVE TO DARE TO TRICK THE AUDIENCE INTO THE INTENSE MAGICAL STATE.
I DIVIDED MY WORK—THE WORD “WORK” IS WEIRD—IT IS LIKE PLAYING—INTO TWO PARTS. THE FIRST PART IS PLAYED IN “REAL LIFE”—FOR INSTANCE, I GO UP TO A PERSON ON A STREET AND ASK HIM TO BE IN SOME PROJECT WHICH MAY CONTAIN SOME NUDITY AND PHYSICAL PLAY. THE NUDITY AND PHYSICAL PLAY AS AN IDEA IN THIS CONTEXT IS A GREAT TOOL TO GET UNDER THE POLITE CHATTER SURFACE TO THE MORE MEANINGFUL THINGS, AND OFTEN MORE INTIMATE, MORE PERSONAL STUFF—WHICH IS, AFTER ALL, THE AIM OF THE PIECE. I CAN SEE THIS KIND OF PIECE LASTING ANYWHERE FROM A FEW SECONDS TO SEVERAL HOURS.
THE SECOND PART IS A PIECE IN A CONTROLLED SPACE, SUCH AS MY STUDIO, IN WHICH THERE IS A FORM GOING ON, GIVING THE PERSON A REASON TO BE THERE WITH ME.
THIS KIND OF PERFORMANCE IS DIFFERENT THAN NORMAL THEATRE. IN THIS KIND, THERE IS NO REAL SCRIPT. EVEN IF YOU HAVE A SCRIPT, IT REALLY IS A PROP. THE REAL COURSE OF ACTION IS SHAPED BY THE PERFORMER SO THE FLOW OF THE PIECE WILL GO FORWARD AND DEEPER.
WHAT IS IMPORTANT IS WHAT HAPPENS BETWEEN ME AS THE ARTIST AND MY AUDIENCE, HOW I CHANGE THEM AND HOW THEY CHANGE ME, THAT MAGICAL STATE IN WHICH WE INTERACT WITH EACH OTHER. I, AS THE PERFORMER, MUST CREATE AROUND THE PEOPLE, BY PLAYING FOR AND TO THEM, BY LETTING THE PERFORMANCE TAKE ME OVER AND GUIDE ME—EVEN WHEN IT LOOKS LIKE THE OTHER PEOPLE ARE DOING ALL OF THE ACTION. THE ULTIMATE GOAL IN MY PERFORMANCE IS TO CREATE A REALITY, NOT AN ILLUSION, WHICH THE AUDIENCE AND I ARE IN—EVEN IF I HAVE TO USE ILLUSIONS TO GET TO THIS REALITY.
THIS RAISES THE QUESTION OF MANIPULATION. ALMOST ANY TIME YOU PERFORM TO AN AUDIENCE, YOU MANIPULATE THE AUDIENCE. LET’S GET BEYOND THE NEGATIVE CONNOTATION OF THE WORD “MANIPULATE”. PEOPLE GO TO THE THEATRE, MOVIES, CONCERTS, DANCE COMPANIES, ETC., TO HAVE THEIR EMOTIONS MANIPULATED. THEY COME INTO THE PERFORMANCE AREA WITH A WILLINGNESS TO BE MANIPULATED BY THE ARTISTS WITHIN CERTAIN LIMITS. BUT IN MY PERFORMANCES, THE ONES WHICH ARE NOT DIVIDED FROM THE REST OF LIFE BY A THEATRE OR A STAGE, THERE IS NO WAY TO TELL THE PERSON SHE IS ENTERING A PERFORMANCE. WHEN I HAVE A FORMAL STRUCTURE, A THEATRE SPACE, AND A SET TIME ENDING—WHAT IS REALLY GOING ON IS NOT WHAT IS SAID TO BE HAPPENING. ALSO IT IS A REALITY THAT IS HOPEFULLY BEING CREATED—PEOPLE WILL BE AFFECTED, INFECTED, AND EFFECTED BY THIS REALITY.
PERFORMANCE OBVIOUSLY GOES MUCH FARTHER BACK THAN 1909 WHEN IT BECAME A FORMAL ART FORM. I THINK PERFORMANCE CAME INTO EXISTENCE TO FILL A VOID IN WESTERN LIFE. THE VOID WAS THE LACK OF MAGIC AND INSPIRATION. THE TWO AREAS OF CREATIVITY, THEATRE AND RELIGION, THAT TRADITIONALLY WERE THE SOURCE OF THIS MAGICAL INSPIRATION HAD LONG AGO MOVED FROM MAGIC TO ENTERTAINMENT AND POLITICS. THIS VOID ALSO GAVE BIRTH TO PSYCHOLOGY DURING THE SAME TIME PERIOD. I OFTEN GET THE CRITICISM THAT MY WORK IS REALLY PSYCHOLOGY AND THERAPY, AND NOT ART. WHEN IT IS REALIZED THAT PSYCHOLOGY AS A FORMAL SCIENCE AND PERFORMANCE AS A FORMAL ART WERE BORN AT THE SAME TIME, THIS CRITICISM CAN BE ANSWERED. PERFORMANCE AND PSYCHOLOGY ARE BOTH INVOLVED IN SPIRITUAL HEALING.
I SEE PERFORMANCE AS EXPERIMENTS IN HUMAN POSSIBILITIES. TO DO THESE EXPERIMENTS, I FORMED IN SANTA FE IN 1972 A WEEKLY DROP-IN WORKSHOP TO DO RITUALS LASTING MANY HOURS. A YEAR LATER, PEOPLE FROM THAT DROP-IN GROUP MOVED WITH ME TO N.Y.C. TO BE THE CORE OF A COMMITTED GROUP. BUT IT WAS IN BERKELEY THAT WE FOUND A PERMANENT HOME IN 1974. THERE, THE WORKSHOP SLOWLY DEVELOPED INTO A GROUP OF 30 PEOPLE.
IN THE LATE ’70S WE STARTED OUR PUBLIC PERFORMANCES BY DOING LONG RITUALISTIC PLAYS. OVER THE YEARS, THE GROUP BRANCHED OUT TO DO MANY DIFFERENT KINDS OF LIVE AND VIDEO PIECES, INCLUDING the outrageous beauty revue .
THE o.b.r. WAS A CABARET SHOW THAT TRIED TO SHORT-CIRCUIT THE CABARET LIMITS OF TIME AND STAGE. IT DID THIS BY BEING A SHOW OF PEOPLE WHO WERE HAVING FUN AND WHO WERE LIVING THEIR FANTASIES—A SHOW THAT INCLUDED THE AUDIENCE DIRECTLY IN THE ACTION—AN UNPOLISHED SHOW THAT FLAUNTED NUDITY, EROTICISM, AND GORE IN A SILLY, CHILDLIKE PLAYFULNESS—AN EVER-CHANGING SHOW WITH PREGNANT SEX SYMBOLS, NUDE GIRLS, CRIPPLED ROCK STARS, MEN AS WOMEN AND WOMEN AS MEN WITHOUT ANY SEXUAL MEANING. THE o.b.r. RAN FOR THREE YEARS AND WAS BY FAR MY MOST POPULAR WORK IN TERMS OF HOW MANY PEOPLE SAW IT. BUT THE SUCCESS OF A PIECE SHOULD NOT BE JUDGED BY HOW MANY PEOPLE SEE IT, BUT BY HOW FAR IT WENT BEYOND THE TABOOS, BY ITS MAGIC POWER FOR CHANGE. BY THIS STANDARD, MY BEST WORK WITH THE GROUP WAS OUR 48-HOUR DREAM PERFORMANCES IN THE LATE ’70S.
SINCE 1983, I HAVE BEEN DOING A PERFORMANCE SERIES AT U.C. BERKELEY WHICH HAS GIVEN ME A LAB WHERE I CAN DEVELOP PIECES BY DOING THEM OVER AND OVER WITHOUT THE PRESSURES OF MAKING MONEY OR ENTERTAINING. THESE PIECES ARE WHAT GOT ME THE N.E.A. FELLOWSHIP, AND THEY ARE THE ONES I DO ON MY TOURS.
IN MY WORK, I ALWAYS HAVE USED NUDITY AND PHYSICAL ACTS WHICH MOST PEOPLE WOULD CALL SEXUAL. IT IS JUST ONE OF MY WAYS OF BREAKING NORMAL REALITY INTO NEW WAYS OF COMMUNICATING AND RELATING. I COMBINE THIS WITH BREAKING TIME/SPACE TABOOS, MY UNIQUE BODY, AND OTHER TOOLS. BUT THE “SEXUAL” CONTENT OF MY WORK GRABS MOST OF THE ATTENTION.
THERE IS A COMMON MISCONCEPTION ABOUT THE DEFORMED SHAMAN TRADITION—THAT IT GETS ITS POWER FROM THE MENTAL AND THE SPIRITUAL PLANE, SINCE THE PHYSICAL AND SENSUAL ARE ALMOST NONEXISTENT. IN TRUTH, THE WOUNDED HEALER USES HIS PHYSICALITY AS A CHANNEL TO UNITE THE SPIRITUAL WITH THE PHYSICAL.
I HAVE ALWAYS BEEN A VERY PHYSICAL AND SEXUAL PERSON. THIS WAS HEIGHTENED BY MY EARLY PHYSICAL ISOLATION. IN THE EARLY ’70S WHEN I WAS NOT YET OUT OF MY SEXUAL ISOLATION, I OBSERVED AS AN INTERESTED OUTSIDER THAT FREE SEX (CONFUSED WITH FREE LOVE) WAS NOT WORKING. IT WASN’T MAKING MY HIPPIE FRIENDS HAPPY. THIS OBSERVATION WAS AGAINST MY PHILOSOPHY OF FREEDOM. BUT I COULD NOT DENY THE FACTS. I STARTED LOOKING FOR NEW WAYS OF RELATING AND TOUCHING. I WAS LOOKING FOR A NEW FREE LOVE. MY PERFORMANCES, BOTH THE PUBLIC EVENTS AND THE PRIVATE NONFILMS, WERE MY RESEARCH, MY EXPERIMENTS.
I EXPERIMENTED IN USING THE EXCITED, AROUSED, PLEASURABLE ENERGY IN THE CONTEXT OF ART, OF PLAYING, RELATIONSHIP-BUILDING—NOT THE CONTEXT OF SEX. THIS RESEARCH REACHED A CLIMAX IN MY BERKELEY WORKSHOP DURING THE YEARS OF the outrageous beauty revue.
IT WAS FAIRLY CLEAR TO 30 OF US THAT THERE WAS A DIFFERENCE BETWEEN PLAYING AND SEX. WE SAW IT HAD SOMETHING TO DO WITH SEX AND “MARRIAGE” (THE WORD marriage IS ANOTHER WORD THAT HAS NEGATIVE CONNOTATIONS HIDDEN WITHIN IT). SO WE DECIDED TO COMMIT OURSELVES TO HAVING SEX ONLY WITH THOSE TO WHOM WE WERE MARRIED. BUT WE EROTICALLY PLAYED (FOR LACK OF A BETTER TERM FOR IT) WITH ALL OF THE PEOPLE IN THE GROUP.
THE EROTIC PLAY GOT WACKIER, MORE PHYSICAL. IT GAVE US A GREATER FREEDOM NOT ONLY WITHIN OUR GROUP, BUT IN SOCIETY IN GENERAL AS WELL. EROTIC PLAYING INTENSELY BUT PLAYFULLY RELEASED CREATIVITY WHICH WE USED IN MANY WAYS. SUCCESSFUL BUSINESSES WERE ESTABLISHED. WE DID SEVERAL PUBLIC PERFORMANCES, AND A WEALTH OF PRIVATE PERFORMANCES. THERE WAS NO JEALOUSY OR POSSESSIVENESS BECAUSE IT WAS CLEAR THAT SEX WOULD NOT BE INVOLVED. THIS WENT ON FOR THREE YEARS.
AT A CERTAIN POINT, WE STARTED QUESTIONING THE CONCEPT OF MARRIAGE. WE DID NOT SEE ANY DIFFERENCE BETWEEN WHAT WE 30 HAD TOGETHER AND BEING MARRIED. NOT SEEING ANY DIFFERENCE BETWEEN MARRIAGE AND WHAT WE HAD AS A GROUP, THE NEXT LOGICAL QUESTION WAS, “WHY NOT HAVE SEX?” SO WE STARTED TO HAVE SEX OUTSIDE MARRIAGE, WITHIN THE GROUP. ALMOST IMMEDIATELY CHANGES APPEARED IN THE GROUP. JEALOUSY AND POSSESSIVENESS APPEARED. THE GROUP QUICKLY BEGAN TO FALL APART.
AFTER THIS BREAKUP, I FOCUSED MY WORK ON DEFINING THE UNIQUE PHYSICAL-SPIRITUAL ENERGY WE HAD USED, FORMALIZED IT IN MY ART TO TAP AGAIN INTO THE INTENSE, PURE PLAY WITH PEOPLE, USING THE RESULTING CREATIVENESS IN ART WITHOUT BEING DERAILED BY SEX.
I REALIZED THAT ONE OF THE THINGS THAT WAS UNDERMINING MY WORK WAS THE ENGLISH LANGUAGE. THERE WAS NO WORD, NO NAME, FOR THE FORCE I WAS DEALING WITH. MY FIRST TASK WAS TO CREATE A NEW WORD: eroplay.
OUR MIND NEEDS LABELS. THERE IS SUCH A FORCE OR ENERGY, WHICH I HAVE LABELED EROPLAY. BUT THERE HAS NOT BEEN A WORD FOR IT. THE WORD sex HAS BEEN THE DUMP FOR EVERYTHING SENSUAL, ROMANTIC, PHYSICAL, OR FOR SHOWING MORE SKIN THAN USUAL. CARS ARE CALLED SEXY. POSES THAT DO NOT SHOW THE SEX ACT ARE CALLED SEXUAL. WEARING CERTAIN THINGS, MOVING CERTAIN WAYS ARE ALL CALLED SEXUAL, EVEN WHEN IT IS NOT LEADING TO THE SEXUAL ACT—EVEN WHEN THERE IS NO INTENT TO HAVE SEX.
EROPLAY IS INTENSE PHYSICAL PLAYING AND TOUCHING OF ONESELF AND OTHERS. EROPLAY IS THE FORCE OR ENERGY RELEASED BY SUCH PLAY. IT IS ALSO THE HAPPY, PLAYFUL ATTITUDE TOWARDS LIFE THAT COMES FROM SUCH PLAY. EROPLAY IS NOT FOREPLAY, EVEN THOUGH FOREPLAY IS EROPLAY.
FOREPLAY LEADS TO ORGASM—EROPLAY LEADS TO BEING TURNED-ON IN MANY DIFFERENT WAYS AND IN ALL PARTS OF THE BODY—INCLUDING, BUT NOT LIMITED TO, PHYSICAL AROUSAL. IT CAN BE DIFFERENT EVERY TIME. SKIN TOUCHING SKIN SEEMS TO BE WHAT RELEASES THE FULL IMPACT OF EROPLAY. EROPLAY CAN BE INTENSE. IT IS LIKE WHEN YOU RUB A PUPPY ON ITS BELLY AND THE PUPPY GOES INTO A STATE OF RAPTURE, BOTH TOTALLY TURNED-ON AND RELAXED. EROPLAY IS THE BLISSED-OUT, WARM, RELAXED, TURNED-ON, TOTALLY SATISFYING FEELING OF A GOOD HEAD RUB.
EROPLAY IS FUN!
EROPLAY IS INNOCENT AND CHILDLIKE.
EROPLAY’S FOCUS IS ON PHYSICAL ENJOYMENT.
EROPLAY DECREASES ISOLATION AND ALIENATION. IT INCREASES SELF-TRUST AND TRUSTING OF OTHERS. IT MAKES YOU HARDER TO BE CONTROLLED. EROPLAY LEADS TO A LIFE-STYLE WITH ALL THESE CHARACTERISTICS. THE LIFESTYLE LOOKS STRANGELY LIKE THE LOVE GENERATION, BUT WITHOUT DRUGS OR FREE SEX.
IN RECENT YEARS, OUTSIDE FORCES HAVE AFFECTED MY WORK. EDWIN MEESE’S POLITICAL WAR OF SEXUAL SUPPRESSION AND THE BLANDNESS OF YUPPIES HAVE GIVEN MY ART SOCIAL ISSUES AGAINST WHICH I CAN DO BATTLE.
BUT IT IS AIDS THAT HAS STARTED PEOPLE SEARCHING FOR NONSEXUAL WAYS TO FIND, TO SHOW, AND TO GIVE PHYSICAL INTIMACY. EROPLAY IS A SAFE, FUN, LUSTY CHANNEL FOR FREE PHYSICAL TOUCHING. IT IS SAFE BECAUSE THERE IS NO PHYSICAL INTERCOURSE. IT IS NOT AN AVOIDANCE, AS CELIBACY IS. IT IS NOT SOMETHING SECOND RATE. EROPLAY IS SATISFYING IN ITSELF.
I HAVE DEBATED WITH MYSELF ABOUT NO LONGER RESISTING THE LABEL sexual. BY INSISTING WHAT I AM DOING IS NOT SEXUAL, I AM OPENING MYSELF TO PEOPLE QUESTIONING MY HONESTY AND INTEGRITY. IF I ACCEPT THE SEXUAL LABEL, PEOPLE WOULD JUST HAVE TO DECIDE WHETHER OR NOT THEY LIKE SEX IN ART—DECIDE WHETHER IT IS ART OR NOT. THAT WOULD BE THE DEPTH OF THE QUESTIONING. THEY MAY FEEL UNCOMFORTABLE SEEING SEX AS ART—BUT THAT UNCOMFORTABLENESS WOULD BE JUST FROM BREAKING THE TABOO OF SEX— WHAT’S THE BIG DEAL? WHAT I AM DOING IS TAKING NUDITY AND ACTS THAT ARE USUALLY CONSIDERED SEXUAL AND GIVING THEM A NEW, NONSEXUAL CONTEXT. THAT CREATES A TENSION, A CONFLICT, AN EXAMINING, A LEAP INTO SOMETHING NEW. THAT IS WHAT I AM AFTER. THIS LEAP INTO NEWNESS IS WHY PEOPLE WHO ARE NORMALLY COMFORTABLE WITH CASUAL NUDITY AND CASUAL SEX SOMETIMES GET VERY UNCOMFORTABLE WITH THE NUDITY AND EROPLAY IN MY WORK. BY TAKING “SEXUAL” ACTS AND SINCERELY PUTTING THEM INTO A DIFFERENT CONTEXT, I CREATE ANOTHER REALITY, ANOTHER WAY OF RELATING. I ALSO CREATE CONFLICT WITH THE NORMAL REALITY—AND THAT CONFLICT MAY CHANGE, IN AN UNDERGROUND SORT OF A WAY, THE NORMAL REALITY. I THINK ART—OR AT LEAST THIS KIND OF ART—SHOULD CREATE CONFLICT AND CHANGE. AND I LIKE RELATING WITH PEOPLE IN THIS “UNNORMAL” WAY. THIS IS WHY I DO PERFORMANCE.