ESSAY: Could the Work of John Cage be Perceived within the Genre of Self Portrait?

In the work (7R)/15 (Where R = Ryoanji), John Cage demonstrates a technique he used extensively throughout his practice to encourage a shift away from gesture and self. By using chance operations within a set of conditions it enabled him to dilute potential for subjectivity and direct each sound or mark from a position of neutrality. It would appear his process sought to remove self from the work to engage in processes led from outside the body. But John Millar explains that Cage’s use of ‘chance operations did not mean that he no longer made decisions, but rather that he took different ones’ (2010:17). Therefore, could it be argued that by setting boundaries and conditions before work began nevertheless created the freedom for Cage to evolve and maintain a description of self, albeit from an alternative angle. Without the distractions of a multitude of decisions and less space for gesture, it would seem he provided an opportunity for truth. 

(7R)/15 (Where R = Ryoanji) 1983, pencil on Japanese handmade paper

In (7R)/15 (Where R = Ryoanji) Cage drew around stones placed on a grid at chance determined points. ‘R stands for 15 stones and the number preceding R indicates how many times he drew around each stone. The number below the oblique line is the number of different pencils (ranging from very soft to very hard) used.’ (Brown & Luckett, 2010:102). By constructing a formula he created a drawing that is remarkable by its honesty. A rhythmical composition of differing grades of pencil marks suggest a subtle interpretation of self concentrated in a refined and impartial manner. Away from the noise and discord of decision making, Cage maintains a direct conversation between the hand and the paper in (7R)/15 (Where R = Ryoanji). Describing himself within the subtleties of restraint speaks in volumes and could be argued, illustrates a close connection to the essence of self.

Bibliography

Brown, K. & Luckett, H. (2010) ‘Plates’ In: Every Day is a Good Day, The Visual Art of John Cage. London: Hayward Publishing. pp.77-151

Millar, J. (2010), ‘Not Wanting to Say Anything About John Cage’ In: Every Day is a Good Day, The Visual Art of John Cage. London: Hayward Publishing. pp.15-20