May 2013
You are illustrating the lyrics of Kate Bush's song Flower of the Mountain. What is your initial response to the story in the lyrics?
The total surrender and seduction of it I adore. I have loved Kate Bush since the first time I saw and heard her. I have all her cd’s and videos. Her Sensual World version is so feminine and seductive. Now I've read James Joyce's novel too, with as so many do, skipping some tedious parts. And I have to say that the last sentence of the book in the lyrics of Kate Bushes version are much more appealing because they leave much more open for interpretation, before you unravel the what and whys in an ordinary life of two ordinary people. The lyrics are stirring those emotions of wanting and lust. The 'as well him, as another' is to me a fracture in that emotion, it seems too careless and unconvincing. So when I started drawing I intentionally erased those words in my mind. The way Kate sings her song, I prefer ‘the sensual world’, is also very seductive, full of surrender and female strength. Molly /Penelope in the novel has a big libido, but remains untouched by her husband after losing their firstborn. She's creative, not a linear thinker and therefor is not taken seriously. I'm happy that nowadays that's less the case than in the 1920's
Which images from the song appeal most to you?
Most of all the references towards the Moorish wall, flower of the mountain and the seed cake. It's a very visual grasping way of portraying, fresh young seductive love. You start to long for late spring and falling in love without the cares and considerations of daily life. It's something that appeals immensely to the imagination. There are those affairs or starting romances that completely leave you breathless, it stirs irrational emotions like intense longing and obsession. Which are extremely good for the creative process, it makes your work infused with underbelly butterflies.
What do you think your illustrations add to the viewer or listener's experience that they would not get from the song alone?
It’s not up to me to decide what someone takes from my drawings; I truly like it when each individual has a different point of view. What I’ve done is working in an enlarged fraction of an emotion or dispute within the soul of a woman that deals with temptation. I've said more often that dark and light, pain and happiness are part of us, it makes us human and being in peace with it makes you a stronger person. In one drawing you can see the duality; passion versus virtue, chastity versus nature, longing versus loneliness. The skull stands for the reason she's unloved, the death of a child, but also for the lack of physical love and not able to fulfill her bloomed femininity.
Sensuality, fantasy and the erotic seem to play an important role in your work - why do these themes appeal to you?
Sexuality is the first and foremost natural thing in the world. It's raw, passionate, pure and, when straight from the heart, a wondrous experience. My mind is over imaginative, even as a child I played out all kinds of stories and intrigues in my head. I've also experienced the darker side of lust when I was young, I think that side is also still in my work. It's that duality that brings a certain kind of tension in art. The dark and light as I mentioned before, are part of one story like all things in life.
You work in a range of media, could you say what is particular about drawing in relation to exploring fantasy and sensuality?
It's like a story unfolding on paper, slowly but surely. I can get truly obsessed with a drawing until the very last pencil stroke. The best thing is creating something entirely new, something that did not yet exist before, only in my mind. I feel truly connected with my 'girls' they are part of me, seductress, innocence, passion, lover, sorceress, all parts of one otherworldly personality. The other world being; my mind.
Is it possible to consider drawing as an erotic act?
I do 'get off' on a really well made and grasping piece. But it's too hypnotizing and introverted to be exactly erotic. I go on for hours until my hand cramps up. When I paint I'm much more 'turned on' and active. It makes the blood pump, I feel more of a rush and sexy when painting, hahah
How much do you draw from life and how much from imagination?
Almost all is from my imagination, sometimes I do need anatomical references. I either use myself or a friend, as a model or browse around in photos until I find a nice angle of a hand or foot. You can't do without references, when I started out I used none, but at a certain point it shows. It's just like any other craft, research and practice makes for better work.
The female form is central to your work, what attracts you to this subject?
As far as I can remember I've always been very conscious of my femininity. Even as a child, I was the girl that stole my mother’s high-heeled shoes and makeup. While at the same time I had some tom boy in me too, climbing trees and playing Star Trek or escape the dinosaurs with my brother. On the other hand I had a huge curiosity towards the physical, my niece and me let our Barbie dolls have 'sex' with a male action figure. I drew pubic hair and nipples on my Barbie with a pen. In short; I am a woman, full on. Women are a phantasy, seductress, sensual, mystic, curved, erratic and erotic.
I love men, but I don't get how their brains work. Which makes them very appealing and appalling at the same time. I only draw some men, when I'm really intrigued.
What other symbols and images do you return to in your work and why?
Sometimes some shapes just fall into place, coincidental sometimes intentional. The circle in four parts, visible in other works, stands for life, the seasons, the eternal and ongoing circle of life. I have an embossing stamp with the text; 'omnia in aeternum' , which means; everything for ever. So not ending, with an afterlife, but ongoing as energy into energy. Also snakes appear more often, as a symbol of temptation, obsession and the male opponent. There is more, but it might be nicer if the viewers have more to discover themselves.
What makes a good visual story-teller?
Just lots of imagination and unique skills, I love so many and so much different kinds of styles and types of art that I couldn't single out any specific ones. I’m not a big fan of digital art, standard comic style or manga inspired art, because it doesn’t touch my heart as much as the hand made does. Exceptions excluded.
Is there is difference in the way you approach the depiction of men and women in your work?
There rarely are men in my work, if there are they mostly stay anonymous. If they're not anonymous they are often portraits of men I know personally and find intriguing or remarkable. I'll make some of them blush by writing this. How I depict them is far less sexual than with my females. I chose to leave out men entirely in these illustrations, and leave it more open for the viewer to put themselves in the equation.
What cultural references inspire your work - from the worlds of art, fashion, literature, film, music etc?
My very first obsession was for music, high fashion, folk culture, ethnic clothing and couture throughout the years. I studied art & fashion at the academy and was a fashion designer before. I still love fashion, I have a vintage collection with special statement pieces. The biggest influences on my work however, are probably, sex, love, nature and music, at least music is a huge catalyst for making work. At the moment I listen to Peaking Lights, High Wolf, Zola Jezus, Austra, Kate Bush, PJ Harvey, Connan Mockasin, Jack Collwel & the owls, Glasser, Bob Dylan, Tallest Man on Earth, Blaudzun and Half way Station. I watch a lot of movies while drawing, mostly horror movies with hounted house and other supernatural topics. I could go on for hours about movies, I see about 3 to10 a week, while working.
I'm reading several books in-between work; two of them are ‘The modern Utopian’ by Richard Fairfield and 'The New Black' by Darian Leader. The last one is about how we deal with death, loss and mourning in this day and age, where there is no time and understanding for the mourning process, which makes 'us' turn to alternative quick placebos, in forms of medication, which in its turn does not have the same healing effect as enduring the natural process. Creativity comes from suffering more than plain happiness.
Some of the contemporary artists I admire are Nigel Peake, Louis Reith, Guillaume Soulatges, Vania Zouravliov, Jenny Morgan, Sam Weber, Leif Podhajsky and Ellen Rogers.
What can we expect to see next from Martine Johanna?
Hopefully more and better as I still have much too learn.
The Purple Book by;
Angus Hyland & Angharad Lewis
Laurence King Publishers