7 October in Israel was a nightmare made real. And the nightmare continues, on both sides of the fence. I can’t let this period pass without some kind of reference to it here. So: A few thoughts about the unthinkable and sketches about the unsketchable.
Thoughts
Enough is being written about the politics and machinations of the Israel-Hamas war elsewhere. So I’ll just write a bit about my reaction to the events of 7 October as an artist. Before I do so, I’ll remind you that the hostages still in Gaza have now been there for four months. Including Keith, the husband of my friend’s cousin Aviva (who was released two months ago).
It’s been incredibly difficult to do any creative work since 7 October. At first, I was completely numb and felt no motivation to do art at all. Later, I tried some work in clay and just before the IDF went into Gaza, created a powerful but deeply wounded warrior, rising in anger. I destroyed this because I didn’t think it was much good (although the theme was good). Then I made a figure of a burnt baby. I destroyed this too because I couldn’t face actually making and finishing a burnt baby.
Next I went back to my car theme, as an escape to the 1970s Formula 1 scene. I made quite a dynamic painting which I really enjoyed: the 1974 Hexagon Brabham BT44 driven by John Watson.
In between working on the Formula 1 car, I started a large painting which hopefully will eventually be a coherent painting about the unthinkable which arrived very early in the morning, on 7 October.
7 October: Sketches
These are the beginnings of my painting about the 7 October massacre. I don’t know if I’ll be continuing with it. But the idea started as an overall view of a kibbutz which, as you look closer, is full of tiny figures. These aren’t everyday people working in the fields, going to school, or watering their gardens. Because they’re being raped, dismembered, dragged from their beds and shot, and so on. I started sketching the terrorists first (below), and now think that perhaps I don’t need the kibbutz landscape at all. Maybe the whole canvas should just be full of these small visions of hell.
You may also be interested in my only previous attempt at painting terrorism (unfinished).
As an example of another artist’s response to terrorism, I am intrigued by Art Spiegelman’s graphic novel In the Shadow of No Towers, about the attacks of 9/11. (He’s the author/artist of Maus). I haven’t read it but I plan to soon (I’ve only just heard about it).
