"CADAVRE EXQUIS" IS A PARLOR GAME INVOLVING DRAWING or words. It relies on the chance encounter as a disruption of rationality and a product of the shared. Invented and played by Andre Breton and other 1920's Surrealist artists, "Cadavre Exquis" literally translates to "Exquisite Corpse."
To play, the first artist would begin by secretly drawing a head of a person or animal. He would then fold over the paper, hiding all but a small portion of the neck. The second artist would continue the drawing. From the neck lines of the first artist, he would draw the torso, including arms, wings, tentacles, or whatever struck his fancy. He would then again fold the paper so that only a small portion of the hips or thighs was showing and pass it along. The third artist would continue drawing the legs, feet or perhaps claws and a tail, springing off from the exposed tips of the hip lines.
This is one of many ways in which the Surrealists experimented with, and exploited, the mystique of accident and collaboration. Indeed, even the name is derived from a phrase that resulted when they first played the game: "Le cadavre exquis boira le vin nouveau," meaning "The exquisite corpse will drink the new wine." This early game obviously was played with words rather than drawings.
An artist/curator friend recently asked me to paint a portion of a Cadavre Exquis on which he will be working with other artists. We haven't started yet, but I am eagerly looking forward to it. At the time he invited me, I was just beginning to learn Photoshop and the invitation gave me an idea. I could turn what might have been tedious Photoshop exercises into real fun by playing solitaire Cadavre Exquis. Thank you, Chuck!
I produced many collages, either from top to bottom or left to right (as in the one above) by dividing my Photoshop canvas into three parts. I took three random paintings and merged them together, continuing the lines from one image to the next with some strange and delightful results. At the time, I knew how to use the move tool, so I could move corresponding body parts of three different paintings into compositional alignment. But I had yet to learn image resizing, so the sections of the various paintings are not all the same image size. Though I was playing solitaire, it is still very much in the spirit of Cadavre Exquis.
One of the most beautiful and surprising accidents of the composite painting above is the strong lavender-suited forearm energetically jutting out of the background without a body of its own (left side center–leading to the hand with bluebird perched on it in the second mid-section.) I was stunned when I noticed it. At first I thought it must be magic because I did not actually ever draw a lavender forearm on any of the paintings which I combined. It seemingly emerged on its own from an abyss in the lavender background. In fact, it is the lavender background, re-articulated visually as a forearm by framing between the seat and the back of the chair. Chance had it that the defined space is the same shape and at the same angle as it would have been if I had actually drawn it there. Because it serendipitously leads to and connects with a hand in the next section, it strongly suggests "forearm" to the viewer. It is amazing to me because I had nothing to do with it. It is also haunting because it is echoes a remembered image of the government recruiting posters picturing Uncle Sam's pointing finger with the message, "Uncle Sam wants you"– in my case, to have more artistic accidents, I guess.
Well, accidents will happen! In additional to the magically-appearing forearm, the composite rendering of half my nephew's face on top of my best friend's face (right side of composite face) looks suspiciously like Keven Spacey. And to think I would have never known this, had I not entertained myself playing Cadave Exquis solitaire.
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