My paint brushes and I just got back from a special adventure in Florida. This was their first time on an airplane… and they were just as excited as me!
I spent three days in a small elevator reimagining what white walls can turn into. I started with a black “doodle” design in the elevator cab. Then, ascending and descending, the white, hidden layers of the house metamorphosed into colorful magical wonderlands.
What I love most about this project is the spatial factor. And that special element of secrecy. You can only view the work as you move vertically through space.
Normally, I need to stand back from a painting to understand it. Painting it or appreciating it, I like to stand back 10 or so feet. In the 3 feet elevator, physical closeness to the work is amplified.
But this time, I weirdly enjoyed the constraint. No room to stand back and witness the work, the paintings wraped around me like a fuzzy blanket. No escaping the world I just built.
(side note: I actually couldn’t escape at one point! More on that part of the story soon!)
I was able to pause the elevator to work. Plus, future riders can stop if they need to sit with the work longer.
I packed my brushes, but decided to leave my paint in the studio and opt for buying supplies down there for travel ease. I didn’t realize that that single choice would dictate and guide what I created.
Eager to start, once the plane landed. We went to Micheal’s Art Store and I quickly threw about 9 paint bottles in the cart. Normally, I have a plethora of 30 different paint colors to dabble with. (I am not a primary color artist, lol. I like my fluorescents).
So, I was left to my devices with the paint I chose and what colors I could mix with.
The elevator cabs doodle design called for black paint. Little did I know it would become my favorite, unsuspected friend.
Crazy to think of it, but I’ve never painted black hair. I haven’t even used black paint in any of my work since 2021 and don’t keep it in stock! If I need to darken a color, dark blue or purple are useful. The black hair and features on the girls felt new and exciting.
The elevator itself reminded me of the Great Gatsby. It was built 46 years ago, still equipped with all the original fixtures. My favorite being the gold grated door. Alongside my Micheal’s paint choices—the brassy fixtures, handles, buttons, and slow speed of the elevator also engendered what work needed to come alive.
This 1920’s Gatsby feeling took over and guided the inspiration waves in my head. I came with somewhat of a loose idea of what to do, but left the door open for final composition choices.
Soon enough, the “night time girls”, all dressed in velveteen gloves, started looking back at me. I could tell they were a close group of girls, combing each others hair and comforting eachother. I knew I wasn’t a part of this group, just a curious viewer into their world. I think they were happy I created them there, along with the doodle girls in the elevator. I’m not sure why I know that, but I know that they would rather be in elevator chamber than on a canvas for all to see.
I painted the night time girls on the lower hidden layer between floor 1 and 2 first. Knowing I wanted to merge the two hidden layers into somewhat of a cohesive two-part work, I left a mystery hand coming from above. This hand belongs to a girl above, in the hidden layer between floor 2 and 3, dressed in chartreuse gloves like her friends down below.
In this world, the upper “daytime girls” are playing in the fuzzy green grass. Day dreaming and drinking from the hose, underneath the pink sky. Doing what they do best… curious livers and doers in their world, unprescribed to any destiny or vocation. What they do is up to them to decide.
I don’t personally attach meaning to my work for myself or the viewer. But my work is raw reflection of my honest feelings at the time of painting. I can build the world and be questioned and challenged as to why it’s here in front of me, the way it is.
After getting the last few layers on the top floor painting, for a moment, I understood what it all felt like to me. I knew I went from somewhere in night to someplace in day. I knew I was so in love with the work and how it made me feel. Trapped inside the elevator with them, fully surrounded from floor to ceiling.
I decided I was done. I needed to go back to floor 1 to clean up the cab and wash my brushes. I hit button “1” and the cab didn’t budge.
I started feeling faint (this happened every few hours… not sure if it’s tunnel vision from being in such a small space for long periods or getting high on the paint fumes).
I made sure the door was closed all the way and tried button 1 again. Clicking 1,2,3 on repeat, over and over again. My skin thickened and sweat grew down my back. Then I called my client and told her “okay, this time I really am stuck!”
Flash back: I posted on a little Instagram story that morning saying “me and the girls are stuck in the elevator” … just being silly. I didn’t know I was foreshadowing a real life event XD
So, there I was, stuck between floor 2 and 3, with just enough space where I could jump down if i needed. Peering over the ledge of the cab, all I saw was a dark, scary abyss awaiting me if I stumbled when slipping out.
It was just as sketchy as it was humorous. My clients loyally held onto both of my arms and helped lower me down about 8 feet down onto a bench. I propelled myself out of the cab with so much force I hit my head on the ledge and got a pink strawberry on my forehead. In no way shape or form was I going down into the dark depths of no man’s land.
Victory! I was safe. We all laughed about it and said, “well, it’s great that you decided you were finished!”
I do think it’s really strange timing that right when I directed I was done, the elevator also decided it too was done—with me! It must have been tired of going up and down and up down all day too.
I was nervous I wasn’t going to be able to show anyone the hidden paintings. I had been very eagerly awaiting the final reveal for three days! The chance to take the final elevator ride with them and illustrate what I did to their walls—permanently! I was a little bummed.
But….. alas! The elevator gods decided my time had come and allowed the final reveal to take place. We all rode up to the top, my hands a little jumpy and clammy, ready to hear their thoughts. On the way back down, we stopped the cab at each painting and I pointed out the little things.
All in all, it is safe to say they loved the finished product and were excited to show visitors. My heart takes a deep breath and billows a sigh :)
The reveal was over. We touched down on floor 1:
— “Was it what you expected?!”
“No!”
— “What did you expect!”
“Well, we didn’t expect anything! We wanted you to do what you wanted!”
An open prompt is always my favorite. I think every artist would agree.
Elevator and I shared a special few days together. I called it my little cave. My private quarter gave me to zone in and focus on the task at hand. I don’t think I’ve ever been as focused… I never checked emails or social media. The distractions at bay, it really was just me and the girls. Oh, and Julia Wolf’s new album 🩷 The hidden, secret girls who now greet and protect the elevator riders.
I am grateful for the opportunity to do this commission! Thank you to my special clients if you are reading. I’m grateful for you.
I touched down in North Carolina today with a greater appreciation of my art-making practice and what it means to me. It’s forever a part of me that doesn’t need to occur in one space or place, but something I get to take with me wherever I go.
I thought I’d throw this out there:
If you have barren walls that are also asking to be taken somewhere magical, I would love more chances to paint in new places! Email me at gerb@gerbart.com if you have questions :) I’d be happy to work with you.
Cheers to Florida, the hidden girls, and the only time I’ll ever enjoy being stuck in the elevator!
Till next time,
GERBIE
I hope you have a great weekend!
GERBART.COM
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