The Challenges of Mouth-Painting

In January 1989, I was presented with a challenge - to paint or not to paint by mouth. The Mouth & Foot Painting Artists (MFPA) in Singapore invited me to join them as a student member. Physically, I fulfilled all the pre-requisites for entry into this organisation. A swimming accident in 1983 had left me paralysed from my chest downwards. The complete loss of all finger movements means that wielding anything with the dexterity of my hands is now an impossible feat. So holding a paintbrush in my mouth is the only option left. Yet the idea of handling a wooden stick with my jaws did not quite appeal to me.

Artistic Endeavour

It was the thought of being able to create something of artistic value that finally persuaded me to give it a try. Besides, painting is known to be therapeutic. It could be a form of self-rehabilitation. Without any doubt, it would definitely be a welcome change from the endless television watching for the bed-ridden person that I was. In retrospect, I wondered if the painting of the "Sunflowers" by Van Gogh which was sold for tens of millions had somehow subtly influenced my decision.

Problems to Overcome

I took up the challenge. So there I was, facing a whole sheet of white paper trying to fill it up with something recognisable. Various problems started cropping up. It began with the seemingly simple task of having a firm and proper grip on the brush by mouth. At first, I thought rather naively that having it between the lips would be sufficient to hold the brush. But it proved otherwise. The lips were too weak to control the brushstrokes.

Subsequently, the results had an unintended abstract quality, something like the wild flayings of a mad man. The solution in the end was to actually bite the brush with the back molars. Therefore, I can truly say that with gritted teeth, I started to draw.

A Pain in the Neck

Another problem was drooling. Saliva was dripping out of the corners of my mouth like a baby! In private, this was a distraction and in public, a great embarrassment. To swallow the saliva causes amplified movements of the brush with disastrous effect. Unwanted blotches will appear on the paper even when I take a deep breath. Thus, to control breathing and facial muscle twitches become vital for each stroke that needs to be finely executed. However, blinking my eyes is a luxury I can freely do without any side effect. Thank God!

Another obstacle is trying to reach the corners of a big canvas. Times like this makes me wish for a giraffe's neck. The accident in which I broke my neck caused it to be more inflexible than I thought. To overcome this problem, I sometimes would draw the lower portion of the painting first and then the upper. Another method was to turn the painting upside-down. Either way, after a few hours of drawing, my neck would hurt and feel sore. I had to lie down in bed to seek relief. Mouth-painting is, literally, a pain in the neck!

My training in technical drafting at the Singapore Polytechnic was a great help. The fundamental skills I learned in perspective drawing, picture composition and shadow-casting made it easier in certain aspects of my initiation into painting. But the skills I had learnt in architectural school were dimensional drawings, stenciled in black and white, and drawn by hand before my accident. Now I have to grapple with a myriad of colours, hues, tones and shades with a disobedient brush clenched between my teeth!

Delightful World of Colours

Colours can be a mind-boggling experience of experiments in a never-ending variety of mixes and matches. To see the colour green appear from a mixture of blue and yellow never ceases to delight my eyes. I was initially overwhelmed and over-awed by the different combinations possible. I made the usual beginner's mistake of trying to draw too many things at once. To draw a cluster of four or five flowers together was a very amateurish attempt that ended in a poor painting. I have since learned to concentrate on a petal at a time with much better result. It often results in a much better painting and definitely builds up patience.

Volunteers Needed

During all painting sessions, someone has to stand by, ready to help. The setting up of the equipment, and putting all the necessary tools in place were essential before I can begin my work. My helper needs to squeeze out paints on the palette, wash the brushes and other apparatus during each session. I can do with more volunteers. Any volunteers out there? All are welcome, especially if you have lots of patience and a healthy sense of humour.

Any aspiring artist who thinks that painting with a brush is an interesting idea and a novel venture that you can really sink your teeth into are welcome to join us. But only those who use the mouth or foot to paint need apply. Those who can use their hands are not eligible.

Should you have the itching of a Rembrandt or a Michelangelo in you, call MFPA Singapore at tel: 6747 9732 or 6748 0447.