The Cocteau & Kennedy Years of Collaboration

John Kennedy & Gesso 1999

When Gesso Cocteau met John Kennedy a journey was started that would bring together two talented artists, equally matched with a passion to create. Each had resumes that were filled with success in the visual and performing arts and both were intent upon placing their focus on fine arts. Kennedy had decided very late in his life to become a sculptor and Silkensen’s (Cocteau) had already established herself as a multi-media artist and had been showing in California, Washington and Hawaiian galleries. Their collaborative relationship began when Silkensen answered Kennedy’s call for someone to help him with one of the early sculptures done in plaster called ‘The Artist’ a piece for an upcoming show scheduled for The La Quinta Hotel’s gallery. Kennedy, noting her expertise, asked Silkensen to become his assistant and a collaboration was born that would last for five years.

Kennedy, a master of promotion, immediately wanted to give Silkensen a name that would fix peoples attention. He realized that her future would include major success as a sculptor and an unusual name would bring attention to her and her work. The name, Gesso Cocteau, accomplished that within the first weeks Silkensen assumed it. The multifaceted Cocteau continued drawing and painting, but also had a love for sculpture and a penchant for poetry that Kennedy would find useful as their time together continued.

John and Gesso joking around in 1994. Gesso is wearing the STRANGE DUET necklace from their collaboration piece in bronze called STRANGE DUET.

The two artists worked side-by-side daily and Cocteau assisted him in all the phases of each piece that was created. Kennedy would propose an idea that she translated into a drawing that would begin the sculpture’s visual life. She would bend the armatures and apply the clay then the two of them would work on the piece. Cocteau would do the final chasing on the pieces that were destined for the foundry and at John’s request would write a poem that captured the essence of the artwork. Kennedy included these poems in each of his proposals. One of Cocteau’s poems is cast in bronze at La Quinta’s Civic Center. It was written for the Spirit of La Quinta commission and La Quinta requested that it be installed with the sculpture.

The artists’ relationship extended beyond the studio. Kennedy would visit Cocteau and her husband, Carl Silkensen and stay into the wee hours of the morning exploring ideas and enjoying each other’s company. They became fast friends. Kennedy had found a family and the three were seen at many places around the valley. They helped each other, exchanging ideas about business and proposing ways that would bring both artists’ work before the public. Carl supported the combined efforts of Kennedy with his wife. Soon Cocteau was on call day and night to assist Kennedy with his work so that he could meet his many deadlines. It satisfied their incredible desire to succeed and it would propel each of them on to recognition and success.

Gesso and John in Mexico in 1994.

Kennedy set up shows featuring his sculptures and Cocteau’s paintings. He never allowed her to show her sculptures although he knew she had a love for creating them. However, he recommended that she take a welding class that would allow her to add another skill to the many she already had. He had begun doing functional furniture designs in fabricated steel and Cocteau’s new skill was of great benefit to him. He infused fine art into fabricated pieces and they were completed in a Mexican foundry near Rosarito. Kennedy’s health would not allow him to be present during the welding. As a result, Cocteau stayed at the foundry, a bleak place with few amenities, to oversee the production. It was long hours and hard work for the young artist. For several years they spent each weekend in Mexico bringing the project to a conclusion.

Cocteau had become an integral part of his creative life. During their five-year association, her input was in every piece of his work. Her value to his career is expressed in a note written by Kennedy; “to my dearest friend Gesso, your beautiful effervescent mind is a constant source of inspiration to my work. I shall always adore you. She had become his muse.”

John Kennedy at a dinner party given by Gesso Cocteau

In the meantime she was commissioned by an eccentric client in Los Angeles to do a monumental sculpture. The man wanted a twenty-foot dragon cast in bronze that would dominate the entry to his castle. She had been creating smaller pieces and cast them at the Metal Arts Foundry in Paso Robles, the same one that Kennedy used. She turned to Les Brown and Metal Arts and her mentor Bill Hilbert to help her complete the project. Two years later in 1996, it was unveiled amidst concentrated media attention. It was at this time that the friendship between Cocteau and Kennedy began to deteriorate. Cocteau ended her presence in Kennedy’s studio. It was time to attend to her own career. After all that time they had spent together, he had only allowed one sculpture to bear both of their names. That piece was Strange Duet, a whimsical work depicting two people having fun. It was included in Kennedy’s catalogues and in all of his promotional materials. Today, there are no longer any of these available. All that were for sale have been destroyed never again to be cast.

Throughout the time she had spent with Kennedy, she worked on her own sculptures after hours. She was urged constantly by many to bring them to light. After months of encouragement, she agreed. A show was planned for her at Pat Harkin’s Desert Art Source Gallery. Kennedy came to attend the opening, but when he saw her sculptures he exploded. He accused her of copying his work and began spreading the word throughout the desert. True, there were some resemblances, but there were also significant differences. A feeling of repose was a constant feature of Kennedy’s work. Cocteau’s sculptures reflected her passion and love of movement. His were more abstract and Cocteau’s were more detailed.

Cocteau was bewildered by Kennedy’s reaction and it put her into a deep depression. It was never her intention to offend him. Instead of being supportive of her work, He did everything within his power to end her career as a sculptor. It was strange that Kennedy had such a negative reaction. He had taken classes in sculpture from local desert sculptor Kay Henkel both artists were showing at The Gallery at the La Quinta Hotel and Henkel commented that Kennedy’s bronze Mother and Child was exactly like her Mother and Child that was cast in a plaster like material done years before. Henkel was incensed and Kennedy was defensive. The gallery director settled it by having both of them show their pieces side by side to let the public make its own judgment. The incident passed and the show went on.

Kennedy spread the word of his outrage throughout the desert and sales were few for Cocteau. Local sculptor Lester Wiese and others commented that when artists worked together for long periods of time they often produce work that is similar. For example, consider Picasso, Braque and Cubism. As a result of Kennedy’s campaign against Cocteau many people felt he had deep insecurity issues as a result of wanting his patrons to think he had been a sculptor much longer than he had been.

At the same time galleries in San Francisco and Los Angeles were showing Cocteau’s sculptures with great success. Her work in these cities could be found in sculpture gardens, private collections and public buildings. As time passed, Cocteau and Kennedy resumed an unstable friendship although the painful incident was never addressed.

Then Cocteau began doing life size sculptures and again chose to show them at Desert Art Source. The exhibition ended Cocteau and Kennedy’s friendship. It was clear that nothing had changed in Kennedy’s attitude about her and her sculptures. It was history repeating itself. Kennedy’s ego could not permit her to have success with these new life size pieces. He reacted as he had before because in his world, sculpture for Cocteau was forbidden territory. Kennedy said nothing to Cocteau, but after the show the two did not speak again until a year before John’s death. This time she was unfazed and her new work was embraced.

Acting upon John’s invitation Gesso and her husband Carl visited his studio, Kennedy was in declining health and the three of them had an emotional visit. It was at this time John expressed to Gesso that she was a “bloody good sculptor”. But less than a year later when Gesso attempted to attend John’s funeral to pay her respects his family shunned her.

Jean Mckig, John Kennedy & Gesso

As she works today, the inspiration for her sculptures is hers and hers alone. The journey the two had experienced was filled with highs and lows. As much as Kennedy might have wanted to crush her career as a sculptor, he also had great respect for her artistic vision and her tenacity kept her on her chosen path.

-- Jean Mckig*