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The theme of todays posts is Schizophrenic Artists / there are two distinctly different videos musically. I suggest that you do not play them simultaneously unless you wish to induce a Schizophrenic state upon your mind. But far from passing judgement if that is your wishes.     Today the blog posts on the 800 Days have been the suggestion of my good friend and artist

Troy Palmer

I've always been drawn to "mentally unusual" artists... hey are in touch with things only they can comprehend.

I tried to find something from the Graeme Revell organized split LP of interpretations of Wolfli's musical art (weaving a self-created notation system into his works)- especially Nurse With Wound's "Lea Taantaria"- but found only shorts about his contribution to Art Brut. His work deserved(s) more attention regardless of his mental condition.

The chosen music is still fitting, but...

 

Adolf Wölfli (1864 - 1930) (occasionally spelled Adolf Woelfli or Adolf Wolfli) was a Swiss artist who was one of the first artists to be associated with the Art Brut or outsider art label. Wölfli was abused both physically and sexually as a child, and was orphaned at the age of 10; He thereafter grew up in a series of state-run foster homes. He worked as a farm labourer and briefly joined the army, but was later convicted of attempted child molestation, for which he served prison time. Sometime after being freed, he was arrested for a similar offense and was admitted in 1895 to the Waldau Clinic in Bern, Switzerland, a psychiatric hospital where he spent the rest of his adult life. He was very disturbed and sometimes violent on admission, leading to him being kept in isolation for his early time at hospital. He suffered from psychosis, which led to intense hallucinations. At some point after his admission Wölfli began to draw. His first surviving works (a series of 50 pencil drawings) are dated from between 1904 and 1906.
Walter Morgenthaler, a doctor at the Waldau Clinic, took a particular interest in Wölfli's art and his condition, later publishing Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) in 1921 which first brought Wölfli to the attention of the art world.
Morgenthaler's book detailed the works of a patient who seemed to have no previous interest in art and developed his talents and skills independently after being committed for a debilitating condition. In this respect, Wölfli was an iconoclast and influenced the development and acceptance of outsider art, Art Brut and its champion Jean Dubuffet.
Wölfli produced a huge number of works during his life, often working with the barest of materials and trading smaller works with visitors to the clinic to obtain pencils, paper or other essentials.

 

Morgenthaler closely observed Wölfli's methods, writing in his influential book:
"Every Monday morning Wölfli is given a new pencil and two large sheets of unprinted newsprint. The pencil is used up in two days; then he has to make do with the stubs he has saved or with whatever he can beg off someone else. He often writes with pieces only five to seven millimetres long and even with the broken-off points of lead, which he handles deftly, holding them between his fingernails. He carefully collects packing paper and any other paper he can get from the guards and patients in his area; otherwise he would run out of paper before the next Sunday night. At Christmas the house gives him a box of coloured pencils, which lasts him two or three weeks at the most."
The images Wölfli produced were complex, intricate and intense. They worked to the very edges of the page with detailed borders. In a manifestation of Wölfli's "horror vacui", every empty space was filled with two small holes. Wölfli called the shapes around these holes his "birds."
His images also incorporated an idiosyncratic musical notation. This notation seemed to start as a purely decorative affair but later developed into real composition which Wölfli would play on a paper trumpet.
In 1908, he set about creating a semi-autobiographical epic which eventually stretched to 45 volumes, containing a total of over 25,000 pages and 1,600 illustrations. This work was a mix of elements of his own life blended with fantastical stories of his adventures from which he transformed himself from a child to 'Knight Adolf' to 'Emperor Adolf' and finally to 'St Adolf II'. Text and illustrations formed the narrative, sometimes combining multiple elements on kaleidoscopic pages of music, words and colour.
Wölfli eventually died in 1930 and his works were taken to the Museum of the Waldau Clinic in Bern. After his death the Adolf Wölfli Foundation was formed to preserve his art for future generations.

Today its collection is on display at the Museum of Fine Arts in Bern.
Wölfli's work has inspired many composers.

Perhaps most notable the Danish composer Per Nørgård who after viewing a Wölfli exhibition in 1979 embarked on a schizoid style lasting for several years; among the works of this time are an opera on the life of Wölfli called The Divine Circus.