Jac Saorsa’s Exploration of Illness through Painting

by Paul Weiner

Jac Saorsa is an artist from the United Kingdom, currently based out of Cardiff. She holds a PhD from the University of Loughborough, a MPhil in Philosophical Aesthetics from Glasgow University, Scotland, and studied drawing and sculpture at the New York Academy of Art. Saorsa has worked and taught all over the world. Her recent work focuses on representations of cancer in the 2D picture plane. Saorsa’s work can be found online.

 Derma


Paul Weiner:
How do you begin a new painting? Describe your conceptual and physical processes.

Jac Saorsa:
Drawing and painting are, for me, so intimately related that a significant part of my process is about finding a way in which the two disciplines can coexist on an equal basis in the same piece. I have an innate need to draw – it has always been there. For me, to draw is a passion, and the practice of drawing creates a fundamental relation between my hand and my eye that is engendered in a parallel relation between sight and insight. I trained in the craft of drawing so that I could have even a chance of realising what intuition and passion dictate.

The process that is my practice in terms of painting is long and often plagued by a struggle between deliberacy and intuitive elation. This struggle is necessary although sometimes it can be as destructive as it is constructive. My innate need to draw fought struggles to find a balance with the sometimes overwhelming passion that is inherent in the way I strive to use paint. My relationship with my work is a negotiation that is perpetuated by a succession of fragile compromises. I would describe the process as a complication between the craft itself and the subject matter, the latter being fundamentally a visual study of human subjectivity. I work towards compatibility between drawing and painting, which is often realised by my literally drawing into the paint using the wrong end of the brush. It is in the details that understanding and meaning breathe and survive.

Head 3

Head 1

Woman's head

Paul Weiner:
Could you explain the concept behind your “Drawing Women’s Cancer” series? How has this series affected you as an artist?

Jac Saorsa:
I am a visual artist and a writer, and I work with the body as form and with the psyche as content. I have a passion for exploring the complexities of existential subjectivity, most especially with what I see as the inescapable conflict between robustness and frailty in terms of our engagement with the perceived reality of our world. In my work, I focus on how my own lived experience is both influenced and sometimes reflected by that of the ‘other’ and I understand my practice as a whole as a kind of creative multilingualism, a process, a perpetual dialogue that derives from an interpenetrative symbiosis between visual and conventional language and which reflects a far more fundamental narrative, the subtext that underwrites our existence both as individuals and in relation to the ‘other’. Despite my interest in the experience of the ‘other’ my work up until Drawing Women’s Cancer has most often been from a detached perspective, and as much as I liked to think I was engaging with humanity, I was, as an artist, isolated in terms of my own making. This changed however, and I felt – still feel – quite vulnerable having had to move out of the protective shadows of my private practice.

The project came about through a discussion with my co-researcher, gynaecological surgeon Dr. Amanda Tristram. She asked me if I could draw how it ‘feels’ to have cancer. I thought I could. The work is fundamentally premised in a conceptual and methodological extension, through visual practice, of narrative medicine, narrative itself, as according to its professed founder Rita Charon, being a powerful “magnet and a bridge, attracting and uniting diverse fields of learning.” The focus of the work is based on what I understand as the profoundly inclusive nature of narrative, wherein writing and imagery can be understood as equal in terms of their capacity for generating dialogue, in this case between creative practice and scientific intervention.

My involvement as an artist is perhaps superseded by my involvement in the project as a human being. I engage with the ‘other’s’ lived experience of illness through having long and often very revealing conversations with women who are suffering gynaecological cancer. These conversations take me to a particular part of our world that Sontag describes as the “kingdom of the sick” and the women citizens of this kingdom welcome me as a kindred soul even though they know that I live, without pain, in the “kingdom of the well.” They understand that actually we all hold ‘dual citizenship’, and through listening to and immersing myself in their stories, I share sharing their certain, yet often unacknowledged sense that divisibility between objectivity and subjectivity is impossible in terms of experience. Their spoken stories then are the driving force of Drawing Women’s Cancer, but at the same time as dialogue dictates my creative process there is a meta-language that the process itself evokes that goes beyond the parameters of individual experience. This is where the work itself becomes far more autonomous than other work I have done. It engenders the meta-language that comes alive through the viewer’s subjective experience of the drawings and the continuing dialogue that this experience provokes.

Diagnosis

Dying Child (detail)

Paul Weiner:
Would you consider philosophy to be an imperative course of study for contemporary artists?

Jac Saorsa:
Philosophy for me has never really been manifest in a particular course of study, it has rather been something that I have lived, and created my art through, even though I may not have been aware of it at the time. Very early on – its not important to remember when any more! –  I read somewhere that Existentialism was not so much a school of thought but more a way of being. That felt so natural to me. I read more and more – mainly continental philosophy – and I did indeed go to university and gain academic qualifications, but it didn’t really feel like study, rather a continuous dialogue I was having with all these writers. My conversation with Gilles Deleuze has been the most prolonged. His ‘manner’, a tempestuous honesty, characterises his chaotic reasoning that persists like Ariadne’s thread through plethora of references that continuously lead off along innumerable tangents, and the way he uses, and clearly loves, literature…all of these things keep me in dialogue with him. He says however – and I agree on the whole – that philosophy is not about communication, or contemplation, or reflection, and indeed these could be conceived as passive. It is rather about the active forming, inventing and fabrication of concepts. He distinguishes philosophical concepts from general ideas, from scientific prospects and from artistic percepts and affects, and this is all well and good but for me, such forming and inventing of concepts remains, in essence, aesthetic process. My practice crosses boundaries between art and medical science and neither takes precedence over the other in terms of the work that ensues from the diverse relations I find between them. Diversity I think is the true basis for my constantly ‘wondering’ approach to the relation between thought, feeling and action that engenders the creative process, and this is inevitably unending, multifaceted and definitely non-linear. Where the open-endedness of process and the constant dialogue between idea and execution is addictive, I have suffered (?) such addiction since birth. A questioning that may or may not be philosophical, yet is certainly derived from philosophical thinking, as it is generally understood, is certainly then a personal imperative that pervades my practice as a whole.

So, and to answer the original question! – imperative is a strong word. But from a personal perspective, where philosophical study has clearly been a crucial aspect of what I do as a contemporary artist, in its sense of urgency and vitalism, imperative may well be the right word. Whether I would consider philosophical study to be imperative for others however is a different issue. I must hesitate. There can be nothing dictatorial in art so I will restrict myself to saying only that, in my view, an intuitive and productive awareness of philosophical thinking, if not imperative, is certainly something that can challenge any ‘shallowness’ in contemporary art practice and is therefore very important. Such awareness is undoubtedly enhanced by academic study, but it is not necessarily tied to it.

Amputee (after Muybridge)

Abjection

Has he eaten

Paul Weiner:
Does working as a teacher impact your own work? To what extent are you teaching the students or are they teaching you?

Jac Saorsa:
It may be a cliché, but the idea that ‘teaching is learning twice’ does resonate with me. I would like to think that I never stop learning, in all aspects of my life, and it is therefore with a sense of exploration that I approach things. Teaching is a ‘living’, organic process for me. Working with students is rewarding in its own right and it also helps to maintain the constant questioning attitude that pushes on my own practice, even while I am helping them with theirs. So yes, I do feel that teaching can be a reciprocal process.

Teaching art is clearly not only about skills and technique, it is far more encompassing of the way we all engage with the world as a whole than that, but sadly, in my experience of teaching in Higher Education in the UK, the emphasis has become less about education of any description, and more about making money and status at the expense of the students’ quality of experience. Skill and craft seem definitely to have become ‘dirty words’ (drawing for example, surely fundamental skill, has little importance in many fine art curricula) leaving students bereft, with albeit plenty of ideas, but lacking in the ability to actually execute them. Teaching is often reduced to setting projects that are undertaken with minimal tutor contact and this situation has, I think, a lot to do with the significant rise in uptake of places at private institutions by students who are dissatisfied with what they are offered at university art schools and more concerned with gaining the skills necessary to express their true potential, rather than simply obtaining a degree certificate. 


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