Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
He was a musical maverick whose Trout Mask Replica still sticks out on best-of lists, but when he gave up rock to paint, his art was dismissed as doodles. Now his remarkable work is getting its due at the Michael Werner Gallery in London.
By Maria Bregman
Don Van Vliet, also known as Captain Beefheart, was one of the most influential and innovative musicians of the 20th century. His albums, such as Safe as Milk, Lick My Decals Off, Baby, and the legendary Trout Mask Replica, challenged the conventions of rock music with their complex rhythms, surreal lyrics, and eclectic influences. He collaborated with Frank Zappa, influenced bands like The Clash and Talking Heads, and inspired generations of artists and fans.
But in 1982, he shocked the world by announcing his retirement from music. He moved to the Mojave desert, changed his name back to Don Van Vliet, and devoted himself to painting. He said he had always been a painter, even before he was a musician, and that he felt more fulfilled by expressing himself through visual art.
His paintings, however, did not receive the same acclaim as his music. Critics dismissed them as naive, amateurish, or derivative. Some accused him of exploiting his fame as Captain Beefheart to sell his art. Others simply ignored his work, preferring to remember him as a musical genius rather than an artistic dilettante.
But Van Vliet’s paintings are far from being mere doodles. They are vibrant, expressive, and original works that reveal his vision and personality. They are also deeply connected to his musical style, as he used the same techniques of improvisation, collage, and distortion to create his images. He painted mostly animals and landscapes, drawing inspiration from his childhood memories, his love of nature, and his fascination with the primitive and the mythical. He used bold colors, thick brushstrokes, and raw materials to convey his emotions and sensations. He also gave his paintings titles that echoed his song lyrics, such as China Pig, Crow Dance a Panther, and The Drazy Hoops.
Van Vliet’s paintings have been exhibited in several galleries and museums around the world, but his first solo show in London in nearly 30 years is currently on view at the Michael Werner Gallery. The exhibition, titled Standing on One Hand, features paintings from the 1980s and 1990s, showcasing his artistic development and diversity. The exhibition also pays tribute to his long-standing relationship with his gallerist Michael Werner, who has been representing him since the early 80s and who has been instrumental in promoting and preserving his legacy.
Standing on One Hand is a rare opportunity to see the work of a remarkable artist who defied expectations and categories. It is also a chance to appreciate the art of a man who was not only a musical legend, but also a painter with a unique and powerful vision.
Don Van Vliet: Standing on One Hand is at the Michael Werner Gallery, London, until 17 February.
