Standing around naked for art students breeds weird experiences. That’s why several of the more interesting stories I can tell have to do with my time as an art model.
Art modeling generally consists of two kinds of poses. Gesture poses are random – you move around and freeze at a certain point, and you hold the pose for 30 seconds or so to let students get down the basics of your form. Longer poses might require you to sit still for 20-30 minutes, take a break, and come back and get into the pose again for 20-30 minutes. You might do that for two or three hours. The art instructor might put out masking tape so you’ll remember where your feet went when you come back, because you need to recreate the pose as closely as possible. An extended pose needs to be comfortable, or you’ll fidget the whole time and make people complain.
So I’m doing an extended pose for this painting class. The room is warm, and I can see a pretty day outside through a rear window. I’m on a platform at the front of the room, stretched out and leaning back on one arm. All’s well.
The students are working intently. Then an older lady on the front row of students facing me starts whispering to get the attention of the girl next to her.
“Jeannie!” hisses Continuing Ed lady a couple of times before she gets her neighbor’s attention. The teacher has left the room.
Finally Jeannie looks at Continuing Ed lady.
“You won’t never believe what happened to me last Friday,” the lady says, pursing her lips and shaking her head.
“What?”
“Well, my car broke down on the side of the road in GOOCHLAND.”
“GOOCHLAND?” Jeannie said with a look of horror on her face.
I’d never heard of this place, but tones they used to talk about it made me think of the Lord of the Rings and how Bilbo and Frodo and all the residents of Middle Earth probably spoke of Mordor.
“I had to walk two miles down the road to a gas station and call my brother-in-law to come get me,” nodded the lady. Then she quit all her painting pretenses and put one hand on her hip as she recalled the phantasmagorical events that happened next. Here’s how she related it:
“I was in there waiting, and IN walks this MAN, in these WHITE sweat pants, with SHIT running down BOTH legs, and he comes walking up to ME, and he says, ‘Ma’am, do ya’ll have hot dogs?’ and I said ‘I’m sorry, but I don’t work here,’ and he left.”
I roll out of my pose and into a ball and quake with gut-busting laughter, interspersed with snorts and wheezing attempts to breathe. Nobody can paint me anymore. The instructor comes back in and says “Hey, what’s wrong with the model?” and I lie there with tears streaming down my face.
After a few minutes I recover and collect myself. But then I make a fatal mistake.
“What else did that guy in the sweatpants look like?” I ask.
She looks off into space. “You know, he was not an unattractive fellow,” she says, and I am wrecked again. I eventually stop laughing, but then every few minutes I think something else about this story, like, What are the chances that somebody’d happen to wear white sweat pants the day he shits himself? What would make a man who’d just shit his white sweatpants walk shamelessly into a public place and ask a casual question like that? Why would a man who’d shit himself be craving hot dogs? How could she see past the shit and notice the attractive qualities of this character? Etc., and I curl up into a laughing ball again for three more minutes.
There’s something about trying not to laugh in a situation where laughter is not appropriate that is, in itself, unbearably funny. And if you have nothing else to do besides sit still, you cannot escape how funny it is. It is devastating. If we could harness the power of that kind of funny, I can’t even get my head around how world-changing it would be.