Painters (Artists)

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Located in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)

The hand leads the arm when you paint, and when the hand and the arm move without any holding, you will find your most effortless way to use the arms and hands in painting. In reality the shoulders support and move the arms, and the arms support the hands. I want to look at this going in the other direction, which is the fingers and hand leading the arm.

If you think of the hand leading an energized arm, then you are more likely to find the best consistent relationship of the arm to the hand to the brush. This means as the hand “leads” the arm, then you aren’t leading the arm with the elbow, which means the elbow is not held unnecessarily high and away from the torso.

What are energized arms? It is the Alexandrian term for arms that are so alive, that they do not create down in the body. In other words they don’t act as a downwards pull on the shoulder girdle. This is incredibly important for the artist. How does the artist support his arm effortlessly, and is this even possible? Yes, but it is an elegant act of whole body organization, so that the artist doesn’t massively overwork the front of the shoulder (anterior deltoid) and create a held and compressed shoulder girdle and torso to keep the arm up.

Raise your arm to paint and hold your arm up for three hours motionless. When I said this, what were you first thoughts, and what did you feel in your body? I’m guessing panic! What would have to happen for this to be effortless for three hours? If I sent you away for three weeks and said come back to me able to support your arm fearlessly and effortlessly for three hours, what would you need to do?

Stand and raise your arm to paint without holding your elbow out (We’ll see if this is necessary for painting, since so many painters hold their elbow out). Did you slump forwards or arch your torso backwards to support your arm? Did you pull your head down as you raised your arm? This time release your neck and have your head direct upwards, as you raise your arm to paint. Now release your neck and direct (head leading a lengthening spine), and as your arm comes up, unlock your legs and your torso under your shoulders, as you raise your arm.

As your arm is up, feel what is happening in your arms, neck, torso, and legs as you support your arm up. Is your neck beginning to tighten? Do you feel the shoulders tense more and more to hold up the arm? Are you leaning to one side or the other to compensate for one arm being up? You don’t have to lean when you paint. It is very hard on the torso, if you create a scoliotic posture as you paint for hours.