David Lynch, the creative genius seems to know no boundaries: alongside his renowned films we can add other manifestations that touch the spheres of design, animation, gastronomy and even nightlife.
Life as a work of art: the protean creative will of David Lynch /
We must consider the genius in the same way great civilisations used to consider powers that from time to time possessed humans: unearthly, sudden, at times furious, but above all, uncontrollable. When these powers overcome someone, the person can do little else except surrender to them, let themselves be dominated, become a vehicle.
At times, with a few characters, thus strikes creative genius: it manifests itself in such a way that it appears to be autonomous, independent of the “creator” that it has chosen, and at times, even despite him. Due to the extent of their incredibility, their abundance, their excessiveness, an individual’s creation seem to have burgeoned forth from a metahuman in the world, present here merely because, after all, this generative power needs a medium to become materialised in this reality.
If we follow this analogy, we can think almost immediately of David Lynch, known first and foremost for his filmography (three or four of his works are already undeniably part of the contemporary film canon), but also as a man in which creativity has extended over other spheres, somewhat different from each other, such as music, design, gastronomy, painting, nightlife and a few others.
Recently, Tom Hawking from the flavorwire website, listed Lynch’s artistic works with the purpose of ranking them, from best to worst. And while this hierarchy is risking the inevitable objections of the subjective, at least it is able to offer a wide panorama of the territories over which the American’s protean creativity extends.
Thus, for example, after reviewing his films and his music —disciplines in which the genius has more than established himself with works like Mulholland Drive (2001), Inland Empire (2006) or the television series Twin Peaks (1990-1991, in which he collaborated with Mark Frost); as well as albums such as This Train (2011), and his latest album The Big Dream (2013)—Hawking guides us over the organic coffee he launched shortly after Inland Empire was aired, or the furniture he has designed —his first models in 1997 (shown at the prestigious Salone del Mobile in Milan), others for the “Twin Peaks” restaurant in Texas, inaugurated in 2011, and which can be found in his Parisian nightclub “Silencio”, which opened its doors the same year in October. Hawking however forgets to mention The Dom Perignon champagne bottle that also carried Lynch’s creative signature.
This however is not all. Lynch is also known for his pictorial skill, which he has practiced almost simultaneously to his filmic work. In this sense it is not a coincidence that some of Lynch’s paintings holds an enormous resemblance to certain lose images in his films, certain familiarity in the rarefied atmosphere, that grotesque frown that is there to inevitably and sinisterly, disturb the viewer.
Within the same sphere of the visual and the plastic, the director also has a series of short animated films in his archive, which, as well as being part of his own creation, they are lodged in a website he designed himself —Dumbland, a place where the absurd is the law, where surrealism is the only realism. It’s important to note that for some time the site’s subscribers could also watch a daily weather report of Los Angeles hosted by Lynch.
Lastly we must discuss Lynch’s interest in transcendental meditation, something that at first could be considered a habit, a practice within a lifestyle, but which in some way musters this incredible creative restlessness.
Indeed: if one of the foundations of meditation is paying attention to the present moment, the sudden revelation that everything that happens, happens here and now, and if this creative impulse is part of this unique reality, isn’t it logical that the Nietzschean precept will, on its own, transform life into a work of art?Tagged: David Lynch, creativity, geniuses, cinema, film directors, contemporary art Credits: Image (The New York Times)