Vali Myers: A look at the life and art of the woman who continues to inspire generations.
Kayleigh Hinsley · January 27 2017
Vali Myers is the most wonderful and inspirational artist (and person) I have ever come across. I had never intended to write anything extensive about Vali as I felt I could never do her justice with a blog post. However, this evening when I mentioned her in conversation with my flatmates (we were talking about tattoos; I said if I were to get one it would be something similar to one of Vali’s creatures from her drawings), I realized how little people know about her and also how misunderstood people like her can be. Tonight this was based on physical appearance; my flatmate(s) couldn’t understand Vali’s facial tattoos. I think perhaps if they had known about the life she led, they might not have been so quick to judge, which is why I’m writing this post.
I guess because I live in my own little world surrounded by ‘strange’ things, I often forget that people very rarely understand what it is I’m talking about, or indeed understand the people I admire or the reasons I adore them. I forget that these things might seem strange to other people, and that sometimes they might need explaining. The conversation this evening made me realize that Vali Myers might be someone who needs a little more explaining than most, so I’m writing this because I want you to understand her, as an artist and as a person, and appreciate her life and work as I do. For once, I’ll do away with the non-introductions and the assumption that you who I’m talking about, and instead I’ll start from the beginning.
Before the World Was Made
W. B. Yeats
If I make the lashes dark
 |
| Vali with Foxy. |
Vali Myers is the most wonderful and inspirational artist (and person) I have ever come across. I had never intended to write anything extensive about Vali as I felt I could never do her justice with a blog post. However, this evening when I mentioned her in conversation with my flatmates (we were talking about tattoos; I said if I were to get one it would be something similar to one of Vali’s creatures from her drawings), I realized how little people know about her and also how misunderstood people like her can be. Tonight this was based on physical appearance; my flatmate(s) couldn’t understand Vali’s facial tattoos. I think perhaps if they had known about the life she led, they might not have been so quick to judge, which is why I’m writing this post.
I guess because I live in my own little world surrounded by ‘strange’ things, I often forget that people very rarely understand what it is I’m talking about, or indeed understand the people I admire or the reasons I adore them. I forget that these things might seem strange to other people, and that sometimes they might need explaining. The conversation this evening made me realize that Vali Myers might be someone who needs a little more explaining than most, so I’m writing this because I want you to understand her, as an artist and as a person, and appreciate her life and work as I do. For once, I’ll do away with the non-introductions and the assumption that you who I’m talking about, and instead I’ll start from the beginning.
W. B. Yeats
If I make the lashes dark
And the eyes more bright
And the lips more scarlet,
Or ask if all be right
From mirror after mirror,
No vanity’s displayed:
I’m looking for the face I had
Before the world was made.
What if I look upon a man
As though on my beloved,
And my blood be cold the while
And my heart unmoved?
Why should he think me cruel
Or that he is betrayed?
I’d have him love the thing that was
Before the world was made.
As though on my beloved,
And my blood be cold the while
And my heart unmoved?
Why should he think me cruel
Or that he is betrayed?
I’d have him love the thing that was
Before the world was made.
Vali Myers was born in Australia in August 1930, and had a strong connection to animals and nature from early childhood, which would later feature prominently in her art. Vali hated school but loved to dance. She worked in factories from the age of 14 to support her dance lessons, and became the leading dancer for the Melbourne Modern Ballet Company before leaving Australia for France, moving to Paris when she was 19. There, she lived a difficult life on the streets on the city’s Left Bank and this was later documented photographically by Ed van der Elsken for his classic photo-novel Love on the Left Bank, in which Vali portrayed the character of Ann. Vali was eventually expelled from France and her name put on the Interpol records, so began a ‘walkabout’ through Europe, travelling through Belgium, Italy, Holland, England and Austria.
In Vienna in late 1952, Vali met Rudi Rappold, who she later married in order to change her name so that she could return to France, although police soon found out who she was anyway. Despite trouble with the authorities, Vali did return to Paris in the mid-1950s, where she met many well-known figures including writers Jean Genet and Jean Cocteau, and renowned guitarist Django Reinhardt. During these years (1954-1958) Vali became addicted to opium and often stayed indoors, rarely seeing daylight, working on her detailed early black and white drawings. In 1958, journalist and editor George Plimpton published several of Vali’s drawings in The Paris Review, in the same issue as an interview with Ernest Hemingway. This was Vali’s first exposure as an artist, yet at this time she never wanted to sell any of her drawings, and did not do so until years later.
Vali moved to Italy in 1958, where she overcame her opium addiction and settled in the wild valley of Il Porto, near the village of Positano (now a popular holiday destination but originally a fishing village), which she and Rudi had first discovered in 1954 during their travels. In 1965, Sheldon and Diane Rochlin made a film about Vali and her life there, titled Vali: The Witch of Positano, which gained considerable recognition. Joni Mitchell was inspired to write a song about Vali, “Ballerina Valerie”, after seeing the film. In 1967, Vali danced on stage for Donovan to his song “Season of the Witch” at the Royal Albert Hall. She asked for one Nubian goat as payment and returned to Italy.
In Il Porto, Vali lived in a small domed pavilion surrounded by nature. She became a wildlife conservationist, protecting the valley from hunters and creating a wildlife oasis. It was around this time that Vali, who never desired fame, turned to selling her intricate drawings in order to fund the conservation of the valley. Gianni Menichetti later came to live with Vali in Il Porto. He is also an artist and still lives in the valley today, continuing Vali’s legacy. Gianni is also the author of Vali Myers: A Memoir, which I believe is the only Vali Myers biography available. The book is a brilliant, insightful and often poignant read, one which I would highly recommend.
As I mentioned previously, Vali had tattoos on her face; three dots on each cheek and a little moustache which curled around her lips. These she did herself, long before tattoos came into fashion. She later had the names of some of her favourite animals, including her beloved vixen Foxy, tattooed on her hands and feet and surrounded by beautiful patterns; these were done with the help of Gianni. Vali’s tattoos were an expression of the things that were important to her. Personally, I think tattoos are a beautiful thing, especially when you take the time to understand and appreciate the meaning behind them.
Vali frequently travelled to New York to sell her work, where she stayed in the famous Chelsea Hotel. She received many visitors to her room there; many came to buy her art, while others visited simply to enjoy her company. It was at the Chelsea that Patti Smith, who had admired Vali since she had first discovered her in Love on the Left Bank, asked Vali to tattoo the lightning bolt on her knee. While in New York, Vali met great artists such as Salvador Dali and Andy Warhol, and also became friends musicians including Debbie Harry and Chris Stein of Blondie. Debbie appears briefly in Ruth Cullen’s 1989 documentary film about Vali, The Tightrope Dancer, and Chris would later name his daughter after Vali. Although Vali knew many a famous person, she never desired fame for herself. She had many such connections, a testament no doubt to the brilliance of her art and her character, yet Vali lived in her own world, on her own terms, and was proud of being an outsider.
Throughout her lifetime, Vali produced many detailed drawings, all in some way an exploration of herself. It often took her years to complete each one, gradually building up the detail using ink and watercolour. Her drawings were so personal and often filled with sadness that people would come in and weep in front of them in her studio. She often said she danced when she was happy and drew when she was sad. A book of her drawings, Drawings 1949-79, was produced in 1980, and I am fortunate enough to own a copy. Some of my favourite drawings featured in the book are Golden Flower, Moby Dick and Blue Fox (pictured below), which combines vibrant reds and blues with brilliant gold leaf.
After suffering three aneurysms while in New York in the 1990s, Vali returned to Melbourne. There she set up a studio in the Nicholas Building on Swanston Street, which she opened up to anyone who wanted to come in and look at her art. In the last decade of her life, Vali produced many more stunning drawings. One of my favourite pieces of her later work is the drawing titled Courtesan of Pompeii (1995-1996). There are no images online of this particular drawing, but it is incredibly beautiful. In the centre is a striking female figure with flaming red hair, behind her the scene of a volcanic eruption, and surrounding her are remarkably detailed depictions of little creatures each with different emotions in their facial expressions.
Vali’s work has often been described as surreal, and in some ways this is true, yet many of the animals and scenes come directly from her real life; in Courtesan of Pompeii, Vali even includes a tiny drawing of her little pavillion in Il Porto. The Courtesan drawing is included in the book Night Flower: The Life and Art of Vali Myers, along with many other beautiful examples of her work. Night Flower is a beautiful book published by Melbourne’s Outré Gallery and includes high quality images of Vali’s art plus written contributions from Chris Stein, Donovan and many more who knew Vali. As I’ve already pointed out, images of Vali’s work are very hard to come by online, so this book is an absolute godsend. I would definitely recommend finding a copy if you’re into art.
Vali died in 2003, shortly after being diagnosed with stomach cancer. Her studio remained open as a gallery for several years afterwards, but has since closed. A print of one of her drawings, Moon Hare, had been left on the studio door even after it closed, which gained quite a bit of attention when Florence Welch shared a photo of herself in front of the door, but sadly the print has recently been removed. Personally, I think it’s a real shame that it’s gone; that door was so special, iconic even, and it made me so sad to see that that little piece of history has been lost. However, Vali’s legacy is maintained by The Vali Myers Art Gallery Trust (managed by her close friends Ruth Cullen, Nicole Karidis and Robert Yarra), and she continues to inspire generations of artists, musicians and others who have come across her work. One such artist inspired by Vali is Stanislava Pinchuk (Miso), who once occupied the Nicholas Building studio that had belonged to Vali, and has created images of Vali in her piece Vali Myers is for Girls Like Us and her mural in the National Gallery of Victoria.
Below is an interview with Vali by Natasha Mitchell for ABC Radio National (Australia), recorded in June 2000. Please give this a listen, it’s a joy to hear Vali talk about her life and art. The podcast is also available to download here.
There are some interesting articles about Vali around the web, all of which are great reads and many of which are written by people who knew her. Below are some links to a few of my favourites for anyone who wants to know a little more about what Vali was like as a person. Again, please take a look; there are some particularly great stories on Romy Ashby’s blog, and Patti Smith’s Vanity Fair article is beautifully written.
Blondie’s Chris Stein Shares His Favorite Artist/Magicians. Chris Stein, 2015.
Some Little Notes About Vali. Romy Ashby, 2012.
Memories of Vali by Carole Ramer. Romy Ashby, 2014.
Photos: Revisiting Love on the Left Bank. Patti Smith, 2011.
Words: Vali Myers. Eva Collins, 2001.
The Magical World of Vali Myers. Michael Magnusson, 2012.
Final dream of a bohemian priestess. James Norman, 2003.
Keeping house for Vali. James Norman, 2003.
In Vienna in late 1952, Vali met Rudi Rappold, who she later married in order to change her name so that she could return to France, although police soon found out who she was anyway. Despite trouble with the authorities, Vali did return to Paris in the mid-1950s, where she met many well-known figures including writers Jean Genet and Jean Cocteau, and renowned guitarist Django Reinhardt. During these years (1954-1958) Vali became addicted to opium and often stayed indoors, rarely seeing daylight, working on her detailed early black and white drawings. In 1958, journalist and editor George Plimpton published several of Vali’s drawings in The Paris Review, in the same issue as an interview with Ernest Hemingway. This was Vali’s first exposure as an artist, yet at this time she never wanted to sell any of her drawings, and did not do so until years later.
 |
| Vali photographed by Ed van der Elsken. |
Vali moved to Italy in 1958, where she overcame her opium addiction and settled in the wild valley of Il Porto, near the village of Positano (now a popular holiday destination but originally a fishing village), which she and Rudi had first discovered in 1954 during their travels. In 1965, Sheldon and Diane Rochlin made a film about Vali and her life there, titled Vali: The Witch of Positano, which gained considerable recognition. Joni Mitchell was inspired to write a song about Vali, “Ballerina Valerie”, after seeing the film. In 1967, Vali danced on stage for Donovan to his song “Season of the Witch” at the Royal Albert Hall. She asked for one Nubian goat as payment and returned to Italy.
In Il Porto, Vali lived in a small domed pavilion surrounded by nature. She became a wildlife conservationist, protecting the valley from hunters and creating a wildlife oasis. It was around this time that Vali, who never desired fame, turned to selling her intricate drawings in order to fund the conservation of the valley. Gianni Menichetti later came to live with Vali in Il Porto. He is also an artist and still lives in the valley today, continuing Vali’s legacy. Gianni is also the author of Vali Myers: A Memoir, which I believe is the only Vali Myers biography available. The book is a brilliant, insightful and often poignant read, one which I would highly recommend.
As I mentioned previously, Vali had tattoos on her face; three dots on each cheek and a little moustache which curled around her lips. These she did herself, long before tattoos came into fashion. She later had the names of some of her favourite animals, including her beloved vixen Foxy, tattooed on her hands and feet and surrounded by beautiful patterns; these were done with the help of Gianni. Vali’s tattoos were an expression of the things that were important to her. Personally, I think tattoos are a beautiful thing, especially when you take the time to understand and appreciate the meaning behind them.
 |
| Moby Dick (1972-1974) |
Vali frequently travelled to New York to sell her work, where she stayed in the famous Chelsea Hotel. She received many visitors to her room there; many came to buy her art, while others visited simply to enjoy her company. It was at the Chelsea that Patti Smith, who had admired Vali since she had first discovered her in Love on the Left Bank, asked Vali to tattoo the lightning bolt on her knee. While in New York, Vali met great artists such as Salvador Dali and Andy Warhol, and also became friends musicians including Debbie Harry and Chris Stein of Blondie. Debbie appears briefly in Ruth Cullen’s 1989 documentary film about Vali, The Tightrope Dancer, and Chris would later name his daughter after Vali. Although Vali knew many a famous person, she never desired fame for herself. She had many such connections, a testament no doubt to the brilliance of her art and her character, yet Vali lived in her own world, on her own terms, and was proud of being an outsider.
Throughout her lifetime, Vali produced many detailed drawings, all in some way an exploration of herself. It often took her years to complete each one, gradually building up the detail using ink and watercolour. Her drawings were so personal and often filled with sadness that people would come in and weep in front of them in her studio. She often said she danced when she was happy and drew when she was sad. A book of her drawings, Drawings 1949-79, was produced in 1980, and I am fortunate enough to own a copy. Some of my favourite drawings featured in the book are Golden Flower, Moby Dick and Blue Fox (pictured below), which combines vibrant reds and blues with brilliant gold leaf.
 |
| Blue Fox (1972-1974) |
After suffering three aneurysms while in New York in the 1990s, Vali returned to Melbourne. There she set up a studio in the Nicholas Building on Swanston Street, which she opened up to anyone who wanted to come in and look at her art. In the last decade of her life, Vali produced many more stunning drawings. One of my favourite pieces of her later work is the drawing titled Courtesan of Pompeii (1995-1996). There are no images online of this particular drawing, but it is incredibly beautiful. In the centre is a striking female figure with flaming red hair, behind her the scene of a volcanic eruption, and surrounding her are remarkably detailed depictions of little creatures each with different emotions in their facial expressions.
Vali’s work has often been described as surreal, and in some ways this is true, yet many of the animals and scenes come directly from her real life; in Courtesan of Pompeii, Vali even includes a tiny drawing of her little pavillion in Il Porto. The Courtesan drawing is included in the book Night Flower: The Life and Art of Vali Myers, along with many other beautiful examples of her work. Night Flower is a beautiful book published by Melbourne’s Outré Gallery and includes high quality images of Vali’s art plus written contributions from Chris Stein, Donovan and many more who knew Vali. As I’ve already pointed out, images of Vali’s work are very hard to come by online, so this book is an absolute godsend. I would definitely recommend finding a copy if you’re into art.
Vali died in 2003, shortly after being diagnosed with stomach cancer. Her studio remained open as a gallery for several years afterwards, but has since closed. A print of one of her drawings, Moon Hare, had been left on the studio door even after it closed, which gained quite a bit of attention when Florence Welch shared a photo of herself in front of the door, but sadly the print has recently been removed. Personally, I think it’s a real shame that it’s gone; that door was so special, iconic even, and it made me so sad to see that that little piece of history has been lost. However, Vali’s legacy is maintained by The Vali Myers Art Gallery Trust (managed by her close friends Ruth Cullen, Nicole Karidis and Robert Yarra), and she continues to inspire generations of artists, musicians and others who have come across her work. One such artist inspired by Vali is Stanislava Pinchuk (Miso), who once occupied the Nicholas Building studio that had belonged to Vali, and has created images of Vali in her piece Vali Myers is for Girls Like Us and her mural in the National Gallery of Victoria.
Below is an interview with Vali by Natasha Mitchell for ABC Radio National (Australia), recorded in June 2000. Please give this a listen, it’s a joy to hear Vali talk about her life and art. The podcast is also available to download here.
There are some interesting articles about Vali around the web, all of which are great reads and many of which are written by people who knew her. Below are some links to a few of my favourites for anyone who wants to know a little more about what Vali was like as a person. Again, please take a look; there are some particularly great stories on Romy Ashby’s blog, and Patti Smith’s Vanity Fair article is beautifully written.
Some Little Notes About Vali. Romy Ashby, 2012.
Memories of Vali by Carole Ramer. Romy Ashby, 2014.
Photos: Revisiting Love on the Left Bank. Patti Smith, 2011.
Words: Vali Myers. Eva Collins, 2001.
The Magical World of Vali Myers. Michael Magnusson, 2012.
Final dream of a bohemian priestess. James Norman, 2003.
Keeping house for Vali. James Norman, 2003.
 |
| Vali photographed by Eva Collins, 2001. |
Prints of Vali’s work can be purchased from the Outré Gallery in Melbourne. They also stock Ruth Cullen’s two films about Vali, The Tightrope Dancer (1989) and Painted Lady (2002), as well as the aforementioned books Vali Myers: A Memoir by Gianni Menichetti and Night Flower: The Life and Art of Vali Myers. Posters and postcards of Vali’s drawings are also available via the Vali Myers Store on eBay, set up on behalf of the Vali Myers Trust. I would strongly encourage you to buy as much of this stuff as you can because it’s all truly brilliant.
I hope you’ve enjoyed reading about Vali. It would take a whole book to do her justice, but there are already such books available so I’ll stop here. I really hope this inspires you to find out more about Vali and all the wonderful and interesting things she did. Special thanks to my flatmates for inadvertently giving me the motivation to write this post.
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