Wednesday, October 30, 2013

Michaël Borremans

Michaël Borremans and I share an interest in many of the same painters (Degas, Velaquez, and Manet) as well as preferred mediums (drawing, painting, and film) and themes.

"Michaël Borremans‘ drawings, paintings, and films present an evocative combination of solemn-looking characters, unusual close-ups, and unsettling still lifes. There is a theatrical dimension to his works, which are at once highly staged and ambiguous, just as his complex and open-ended scenes lend themselves to conflicting moods—at once nostalgic, darkly comical, disturbing, and grotesque. His paintings display a concentrated dialogue with previous art historical epochs, yet their unconventional compositions and curious narratives defy expectations and lend them an indefinable yet universal character."

    



Suggested to me by Susan Murrell

Saturday, May 25, 2013

Nightingale Gallery's Faculty Exhibition 2013

Susan Murrell. Prints.
Framed Collages: Jessica Plattner; Left framed print: Susan Murrell
Jessica Plattner. Mixed media collages.
Jess Riva Cooper. 
Foreground Sculpture: Jess Riva Cooper, Framed Prints: Susan Murrell
Foreground Sculpture: Jess Riva Cooper; Framed prints: Susan Murrell
Foreground Sculpture: Doug Kaigler; Framed prints: Susan Murrell
Cory Peeke
Cory Peeke. Mixed Media.
Doug Kaigler. Mixed Media.
Mike Sell. Digital Photographs.
Mike Sell.
Doug Kaigler. Personal Navigational Device. Mixed Media.
Doug Kaigler. Personal Navigational Device. Mixed Media.
Doug Kaigler.
Mike Sell.

Friday, April 19, 2013

Joseph Cornell

Artist #7: Joseph Cornell

Cornell's collage work of found objects within these frames is incredibly fascinating. In many ways, collage is very similar to what I'm interested in with analog photography similar to the works of Jerry Ulsmann. It also reminds me of Georges Melies' fantastical films from the late 1890s to early 1910s. My favorite of Cornell's is Tilly Losch. Not only does it evoke a surrealist imaginary quality that I am so attracted to, but there is a clear sense of realistic depth between the background and the chosen objects.

Joseph Cornell. Tilly Losch. Mixed media. c. 1935
Joseph Cornell. Mixed media.
Recommended to me by Cory Peeke.

Thursday, March 28, 2013

George Tooker

Artist #6 George Tooker

The magic realist and social realist painter, George Tooker, definitely intrigues me. I love films like Amélie and Midnight in Paris where, despite that the setting in both films appears realist contemporary, have an inherit magical element or quality. Tooker's paintings are the same. My favorite is the last image I posted of the old woman and her young reflection. I also am amazed by the intense eeriness evident in his paintings, a true anxiety and uneasiness.
art blog - George Tooker - empty kingdom
George Tooker. Government Bureau. Egg Tempera. 1956.
George Tooker. The Subway. Egg Tempera. 1950.
George Tooker. Egg Tempera.
Recommended to me by Jessica Plattner.

Duane Michals

Artist #5 Duane Michals

     Duane Michals is a very interesting photographer. Though many of his works don't resonate with me, there were a few that I found particularly interesting mostly because they remind me so much of Georges Méliès' films. The idea of using in-camera techniques to trick the viewer with fantastical illusionist images is very fascinating to me. In fact, I'd like to try out some of these techniques for an Independent Study.
     It's interesting to me that Michals wasn't recommended to me for this purpose. I had expressed an interest in "decisive moment" photography as previously discussed. And though in my opinion, Michals' photographs are staged, he does put his subjects in a sealed "moment" by writing (by hand) beneath the print. One image I had found a few weeks ago but can't find now is of Michals and his wife on their bed embracing with writing below it expressing proof that she had loved him once.
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Duane Michals. Magritte with hat. 1965.
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Duane Michals. Joseph Cornell. 1972.
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Duane Michals. Dr. Duanis' Famous Magic Act. 1996.
Duane Michals was recommended to me by Cory Peeke and Mike Sell.

Tuesday, March 26, 2013

Alex Colville

Artist #4 Alex Colville

I am very impressed by the works of Canadian painter, Alex Colville. His photo-realistic work is eye candy. However, I'm not sure that the subject matter or the style are quite me. However, there are aspects that I can appreciate. For example, in the images below Colville (suggested to me by Jess Riva Cooper) has worked out a very detailed sketch for the painting Ocean Limited -- a sketch that is far more mathematically involved than I thought a sketch could be. This is what especially impresses me for my future work. I've noticed that my better compositions are the ones where I specifically worked it out using the Rule of Thirds, for example where some of my lesser works are just thrown together wherever my brain sees fit.
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Alex Colville. Ocean Limited. Oil and synthetic resin on board. 1962.
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Alex Colville. Sketch for Ocean Limited. 1962.

Monday, March 25, 2013

Karen Kilimnik

Artist #3 - Karen Kilimnik

When Susan Murrell first recommended Kilimnik to me, I was impressed at the start. Not by her particular style of painting but of her subjects and inspiration sources. She has said that she is heavily influenced by books, fairy tales, TV shows, etc. that she views herself as the playwright of a story and the portraits she paints are either characters in those stories with actors "casted" in those roles.
Snow White
Karen Kilimnik. Snow White. Water soluble oil color  on canvas.  18" x  24". 2004.
Clara, the witch in the English countryside
Karen Kilimnik. Clara, the witch in the English countryside.  Water soluble oil color on canvas. 20" x 16". 2009.
When I first picked up a pencil to sketch random doodles in the corners of my notes in the fifth grade, my mind instantly went to one place: the Japanese anime Sailor Moon that had begun airing at the time. For the first few years of my expression of boredom, my characters of skewed and stylized proportions began to include other sources including Star Trek: Voyager. Captain Kathryn Janeway was a particular favorite of mine, and I have kept many drawings of her. My imagination thrives on fantasy and science fiction today as much as it did then, though it has matured. I have characters floating in my head that I created in high school, who I have been molding extensively ever since their inception. Many of these characters have found life on the page from time to time. Karen Kilimnik has rekindled my interest in creating work based on a fantasy world that was influenced so heavily by my favorite songs, actors, and characters.

Sunday, March 24, 2013

Henri Cartier-Bresson's Decisive Moment

In his book The Decisive Moment, Henri Cartier-Bresson (recommended to me by professor and photographer Mike Sell) said about photography: "There is nothing in this world that does not have a decisive moment." He also said, "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression."

His photograph below is a perfect example of what he meant. Happening to peer through the fence at the right time Cartier-Bresson saw a man preparing to jump off a plank into a puddle of water.

Henri Cartier-Bresson.
That is something that I've always had trouble with when it came to "moment" photography. First of all, I need to have a sense that "something" or an "action" was about to occur. And secondly, be able to have the camera ready to take at that "right" moment. My primary trouble is with the latter. I take too long to get the camera in focus, set the shutter and aperture I want, and frame the image. By the time I am ready, the action was over.

While doing an image search for Cartier-Bresson, I found a blog by a photographer named Kevin Vandivier where he succeeded in capturing a decisive moment.


In fact, once learning what was going on in the image, I realized how "perfect" this moment was. This cowboy, while branding and castrate calves, would flip the calf over with one hand to castrate him. The terror on the calf's face is absolutely evident and instills a horrific shock within the viewer. In a similar way that Cartier-Bresson's photo puts us on the edge of our seat as his foot reaches the threshold of the water, the calf opens our eyes to the treatment of cattle.

Without a doubt, if I am interested in "moment" photography, I need to work harder to be faster with my camera set up and learn how to adequately sense when that "action" will occur.

Saturday, March 23, 2013

Light and Shadow: Installations by Christian Boltanski

Artist #1: Christian Boltanski

Suggested to me by my art history professor, Cory Peeke, I was very impressed by Christian Boltanski's installations. Starting with a generic Google Image search, my initial reactions reminded me of when I saw The Adventures of Prince Achmed, one of Lotte Reiniger's shadow puppet animation films (1926). However, there is a strong tension in Boltanski's shadow works that does not exist in Reiniger's fun and adventurous film.
Christian Boltanski. Installation. 1984.
In addition to installation art, Boltanski is also a painter, sculptor, filmmaker, and photographer clearly moved by death-inspired interest including the two World Wars.
Christian Boltanski
Christian Boltanski. Monument Little Adessa (Relic). 1990.
This is certainly an artist that I am interested in learning more about. I'm intrigued by his use of light to evoke emotions and ideas. My artistic motivations are still shaping. However, I have really enjoyed works that utilize shadow, light, reflection, and so forth. In addition to Boltanski, I've enjoyed works by artist, and EOU professor, Doug Kaigler (see: Nightingale Gallery), especially Personal Navigational Device that I wrote of in a previous blog entry as well as EOU alumnus Auburn Isaak's Soundescape and her other works from her senior show.

Doug Kaigler. Personal Navigational Device.  Mixed Media. 2013.

Auburn Isaak. Soundescape (detail). Mixed media. 48" x 84" x 60".
Auburn Isaak. Crescendo. Mixed media. Variable Dimensions. 
Another similar artist I just found was Diet Wigman.
diet-wiegman-light-sculptures-1
Diet Wigman. Shadow Sculpture. 

Spring Break Goals

I have created this blog for the primary purpose of searching out artists that inspire me. This is a goal recommended to me by my husband and art faculty. As I research artists recommended to me and those I find on my own, I will be posting my thoughts and observations and discuss how I feel these artists relate specifically to me and my work. As I'm sure that I'll find many artists whose work is amazing, much of it probably won't directly inspire me. In other words, this blog is not presently meant to be taken as a critique of the artist and their work necessarily.

Since Spring Break has begun (Thank goodness!), I'm intending to be going through several artists that have been recommended to me before Spring term begins. In addition to my other Spring Break goals with my other blog (see: http://carriemnelson.blogspot.com/), I intend to be researching, and posting about, at least one artist a day between today and a week from tomorrow.

I will post links to these artists' web pages and I may include an image of their work. Naturally, anything of theirs that I may post is 100% not mine and I intend to cite everything accordingly.

These artists include:
Christian Boltanski
Joseph Cornell
Suzannah and the Elders painting in "Fact and Fancy"
Alex Colville
George Tooker
Maggie Taylor
Jerry Uelsmann
Gregory Crewdson
Duane Michals
Henri Cartier-Bresson "Decisive Moment"
Karen Kilimnik
Patrick Megrath Menioz
Nicholas Nixon

(and there are many more!)

Friday, March 8, 2013

"Conversation" by Zeldin



My thoughts on "Conversation" by Zeldin


36 Topics

Of the thirty-six topics of conversation, number six (The wasted meaning: How can shy people can be helped to talk?) resonated with me because I am shy and introverted. I have things to say, I often have something to say, which is very frustrating when you're afraid to talk. It doesn't help that when I'm nervous, I tend to not say the words as my brain intended and I don't make sense. People who don't know me very well and have seen this happen in a conversation with me usually find me uninteresting and don't like to converse with me. And there are some, depending on the circumstance, think I'm an idiot because of this. Suffice it to say, finding out about those people is merely counteractive.

However, I found Zeldin's words insightful and hopeful when he said, "throughout history, ordinary people have suddenly come out with the most amazing statements when they find the courage"(16).


Chapter 1

"We know enormous amounts of how relationships go wrong. It is much harder to show how they go right, without arrogance or without naivete or the fear that once love is analyzed, it will lose its magic." I've been married for eight years now and have been frequently asked by women about my age how I could have gotten married so young (twenty) and knew that it was right, especially with a short engagement. Like any other couple, we have our ups and downs and disagreements (mostly about parenting) but I find their questions so difficult to answer. For some it works and for some it doesn't. The doesn't makes more sense and is easier to explain away (fighting, arrogance, pride, finances, little/no conversation or conversation that hurtful and antagonizing, etc.).

Something clicked when my husband and I met. It wasn't fireworks or a spiritual earthquake, we were just on the same page, the same wavelength. We had a lot of the same goals and interests but most importantly (and we've had this conversation before) we have so much to talk about all the time. We love to go on long drives, not just to get out and see sights and scenery but to talk. It's a wonderful environment where we can talk about anything and go a long ways before we're interrupted by getting gas or going on a bathroom break. Mealtime conversations are also a lot of fun. The only trouble with us and conversations is since we always have so much to talk about with each other, and usually things that pertain to us or interest us, it tends to leave our son out of the conversation. So, right now we're focusing on learning to adapt our conversations to include him more. I do know that some couples we're around don't seem to have a great relationship, my in-laws for example, in part because they have nothing to talk about. I would say that maybe they talked so much now there's nothing left to talk about but my husband has said that they've never really talked that much, except some day to day chit chat, and they don't have that much in common. They are the sort of people that stick things out, so though I doubt they would ever get divorced, and I would be sad if they did, but I wouldn't be surprised either.

So, I definitely feel that conversation makes a huge difference. And it's not just married folk. My husband and I have friends that would break up with their girl/boyfriends and it almost always had to do with poor or lack of conversation.


Chapter 2

One of the subjects at the table my son first became interested in was that my mom is allergic to gluten and corn-derived products. This led to a discussion of what is in the ingredient lists, what is healthy and what is not, and why we don't buy food that comes in a box very often. In fact, we try to cook from scratch as often as we are able. Now our son is looking at labels and asking, "What is sodium nitrate and why is it in the bacon? What is corn starch and what is xanthan gum?" My determination to answer his questions led to an investigation that changed what we buy at the store.

"Shopping for food is a game of hide-and-seek, with packagers concealing their secrets in small print," (Zeldin 39). The secrets that concern me are those that need not be there in the first place: dyes, chemicals, corn-derived products, etc. For example, sodium nitrate is a substance that exists in a lot of bacon and sliced meats. It is a chemical compound with multiple purposes in that it is a "constituent for fertilizers, pyrotechnics and smoke bombs, glass and pottery enamels, as a food preservative and a solid rocket propellant" (yes, I quoted Wikipedia here). But if you look at Wikipedia's cited sources, especially those quoted in the Health Concerns section, you'll find information like this: "Like sodium nitrite, sodium nitrate used in foods forms small amounts of nitrosamines (N-nitroso compounds or NOCs), some of which are human carcinogens known to cause DNA damage and increased cellular degeneration. Studies have shown a link between increased levels of nitrates and increased deaths from certain diseases including Alzheimer's, diabetes mellitus and Parkinson's, possibly through the damaging effect of nitrosamines on DNA.[9] Nitrosamines, formed in cured meats containing sodium nitrate and nitrite, have been linked to gastric cancer and esophageal cancer.[10] Sodium nitrate and nitrite are associated with a higher risk of colorectal cancer.[11] World Cancer Research Fund UK,[12]states that one of the reasons that processed meat increases the risk of colon cancer is its content of nitrate. A small amount of the nitrate added to meat as a preservative breaks down into nitrite, in addition to any nitrite that may also be added. The nitrite then reacts with protein-rich foods (such as meat) to produce NOCs. NOCs can be formed either when meat is cured or in the body as meat is digested."

Recently at the store, my son asked if we would buy a box of Kraft Macaroni and Cheese. We always make ours homemade and my son has only had the boxed stuff a few times years ago. So I said to him, "Do you know what's in the macaroni and cheese daddy and I make? Butter, flour, milk, salt, black pepper, cayenne pepper, and cheddar cheese, and, of course, the pasta. Look at the ingredient list on the box for the cheese mix: whey (milk protein), milk protein concentrate, milk, milkfat and cheese culture, salt, sodium tripolyphosphate, sodium phosphate, calcium phosphate, Yellow 5 and Yellow 6, citric acid, lactic acid and enzymes. Does that sound yummy?"


Chapter 3

"Even a professor I met in the corridors of the BBC in London, when I asked how his work was affecting his brain, said, 'The job is narrowing my mind'" (54). I used to feel the same way a few years ago while I worked at a run down local family-run grocery store. It was probably the most mundane job I have ever had. The store barely made enough money to stay open (that is, it closed in the summer of 2011) so there wasn't much communication even with the customers. It wouldn't have been so bad if the conversation with my coworkers and managers was somewhat worthwhile. Conversation with my coworkers at that store was primarily (if not about grocery functions) about hunting, football (neither of which really interest me that much), their political opinions, their opinions on religion, how Portland was going to be destroyed by tsunami, and they looked down on people who tried to improve their situation in life. For example, my boss suggested that I was an idiot for wanting to go back to school. It was an annoying situation to be in to be told by people, the majority of which were on welfare, that there is little point in getting an education. After four years of working there, I wondered if I was ever going back to school and the majority of my forty hours a week was spent in boredom with the same conversation one after the other with the customers. "Hi, how are you? Did you find everything OK? Would you like paper or plastic? Can you believe that it's May and it's snowing? So... you think that Obama's presidential nomination is a sign of the apocalypse? Your total is $24.99. One penny is your change. Have a nice day." I didn't start to get excited until it was officially announced that the store was closing. There was something new to talk about.


Chapter 4

This will sound silly, but when I read the first paragraph and it asked what technology we'd invent, I instantly thought of Star Trek technology and decided that my answer would be the transporter (especially since replicator and holographic technology, in the Star Trek universe is built upon the same basic principles as the transporter). Then Zeldin followed up with his analysis on the invention of the steam engine and concludes how technology affects conversation, "The really big scientific revolutions have been the invention not of some new machine, but of new ways of talking about things" (83).

Transporters would be the same way. You'd have same sorts (like me) who would love the idea of being instantly connected to anywhere in the world and how that could unite humanity. On the other hand, you have the other sort who would complain about it (in fact, Star Trek often enough dealt with people who were terrified of getting their atoms dissected, transmitted in code, and then reassembled on the other side -- and conveniently for the show, transporter accidents happened all the time).

Replicators could be problematic too. Even if they were invented, they'd be incredibly expensive making it difficult for the people who "need" them to get them. And if you could replicate a hammer instantly for free instead of going to the hardware store to buy one, how would that affect the economy? And then, I could get into how replicating food could be comparable to the shortcuts the food industry uses to keep food cheap and less-perishable (like using GMOs, etc.). I could imagine that a 'real-life' replicator, which creates matter from a standard molecular pattern ideal to that object/food, could be harmful to human health. Ideally, it would be wonderful if such an invention could positively benefit the human race, especially those in developing countries.

But I'm just bringing up 'what-ifs' and possibilities that are most likely not going to be within our grasp in our lifetimes (if ever). Then again, Picard had a laptop on his desk and the PADD technology isn't much different from eReader technology. Not to mention cell phones, which some think may cause cancer. Technology absolutely brings new conversations.


Chapter 5

I particularly liked, "I like conversations which discover that people with apparently differing standpoints can reach a meeting of minds on some subjects, limited though they might be" (88). I know I've been going on and on about the gun control issue but reading that reminded me of a situation where my husband and I, my dad, my brother and his wife all went out to the Texas Roadhouse for dinner and somehow my very pro-gun control husband and my very anti-gun-control brother started on that issue. My dad quickly chimed in while my sister-in-law and I ended up sitting there and listening. It wasn't long before my brother leaned in further off his seat, red-faced and raising his voice while he and my dad faced off against my husband. My sister-in-law tried to calm him down, and he would a little, but then he'd just go off again. After several minutes of this, my sister-in-law and I turned to each other and started having our own conversation about gun control. Most of our views differed, but we found that we agreed on quite a bit. She had purchased her first gun in Utah just a few months before and decided that she was quite disappointed with the process. The gun was very easy to obtain, in her opinion, and there wasn't much paperwork (I don't remember now if she had a background check done, but I don't think so). In fact, on the paperwork, the questions were posed "Do you intend to use this firearm as a weapon? Do you have thoughts of suicide?" with simple yes or no boxes underneath. So, even though I am in favor of much stronger gun laws than she is, we were able to agree that the process she went through was full of potentially dangerous hazards. Honestly, if a person were to intend harm with that, or any, firearm, it'd be very unlikely that they'd check "yes". She also liked my idea that I put in paper #1 about having a similar process to acquiring a gun/gun license as obtaining a driver's license/vehicle.

Anyway, the contrast in the two conversations, I found very interesting. Where my sister-in-law and I had an open-minded discussion about our views, by brother was completely disinterested with hearing what my husband had to say. My dad wasn't that bad, in fact, if it were just him and my husband, their conversation would have been much more civilized. My sister-in-law and I got a lot further into the issue because we were listening to each other and "reaching a meeting of minds."

I saw a poll at http://www.pewresearch.org/ which indicates that 85% of Americans support background checks for gun sales. For those of us who agree, we need to get in touch with our Congressman and tell them that they need to stop bickering and act!

More than anything, I'm actually really sad that the book is over. I really enjoyed reading it.









Past, Present, and Future Tense

Thoughts on article "Past, Present, and Future Tense" by Gregor Muir


Gregor Muir, a curator writing for the New York Digital Salon Tenth Anniversary Exhibition, discusses nine digital artists/groups over the span of forty years beginning with Nam June Paik.  Paik’s Magnet TV (1965) produces abstract images by running a magnet shaped like a horse shoe on a tube set. After Googling what sort of images this created, I was fascinated by the variety of forms this installation produced depending on how the magnet was situated. Nicolas Schöffer, a Hungarian sculptor, produced installations including the ambitious 170-foot tall tower Muir described that it, “consisted of 66 revolving mirrors, 120 colored projectors, photoelectric cells, and microphones” (499). Muir also wrote of the works from telecommunication artist, Robert Adrian; the Net artist Vuk Cosi; Gebhard Sengmüller, who developed VinylVideo™; and Pierre Huyghe, who produced a film of French housing towers; as well as groups BIT, whose agents developed Suicide Box (1997); The Web Stalker software (1997) produced by I/O/D; and JODI, who has developed a series of webpages that do not conform to the user-friendly ideal.
The most interesting element from this article was that of the JODI web projects. Wondering what the article was referring to, I found links too many of their web pages on Wikipedia. Even though I knew from reading the article that these pages are designed to instill a mode of terror in the user causing many people to panic in belief that they have a virus and, I accessed http://jodi.org/archive/ and, for a fraction of a second, thought, “Seriously?” as my browser background went suddenly read with the bright bold code “404 Error” flashing at me. “You get these short, direct reactions from panicking people” because it questions the idea that “the Net [is] a user-friendly environment” (500).

LEONARDO, Vol. 35, No. 5, pp.499-508, 2002

Artistic Balance Between the Digital and the Traditional


Response to article "Making art in a digital/cyber culture: exploring the dialectic between the manual creator and the digital self" by Tracey Bowen

                Technology has completely revamped the day to day life in the modern world. It has changed the way we communicate, the way we perceive, the way we research, and the way we are manipulated by others. Technology at its greatest has helped us achieve more in the past century than its inventors could have ever dreamed. Everything from the automobile, Morse code, telephones, and eventually radio, films and television has shaped the very fabric of our nature as a species. Such changes in daily life cause a ripple effect in works of art. The introduction of Sigmund Freud’s theories, for example, influenced much of the Surrealism, fantasy, and Dadaism movements of art. Computers have as well influenced the art world. Since moving beyond the as-large-as-a-room noisemaker that merely calculated basic mathematics, the digital universe has opened the doors to an intense reality that traditional hands-on artists are already beginning to utilize. The article introduces six authors from different ages and at different points of their artistic careers.
                The most interesting element I came across was a quote from one the artists, Diana. On page 224, she describes how she “will use Adobe Photoshop as a means of quickly mocking up an idea because [she] can draw some lines, change the colours and have 10 versions  very quickly to use as a jumping off point.” I am attracted to this idea because I love to take photographs with my dSLR and then use them as source images for a painting or drawing. So, I really relate with these artists on that matter. It just didn’t occur to me to use Photoshop as a sketchbook to create original work. I am very intrigued by this idea and look forward to attempting it with future works.
                Like many of the artists interviewed for this article use the internet as a way for research rather than conventional was, such as going to a library. For me, the libraries around where I live have very limited resources. I can spend hours on the internet researching for information, history, inspiration, etc.
                To me, this article was a fascinating read. I was able to understand more deeply how artists are handing the transition from traditional art to using computers to influence that art, even if it be only for research or business aspects of their career. 

Digital Creativity. 2003. Vol. 14, No. 4, pp. 219-227

The Imaginarium of Remedios Varo



Dreams and imaginings of the most unique sort grew wildly in the mind of a young and aspiring artist. Her paintings guide the viewer through a window to new universes and dimensions, exploring the depth and range of the worlds in which her characters live. A violin hangs from a personified owl’s neck as she paints birds that literally escape her canvas.  A clockmaker’s vision circulates before him as cogs and wheels converge on his desk. Revolving paddleboats and gondolas on disturbed gray waters row destined for the central red-orange tower within their spiral village. The universes created by Surrealist painter Remedios Varo emit a spectacular warmth of reds and honey-yellows with vibrant contrast as her enchanted realms are woven by her endless creativity. Today we can imagine vampires as the long fanged undead gouging into their victims for that red life-fluid to quench their eternal thirst or we may even be further haunted by the brown-eyed vegetarian pop culture vampires, twinkling in the sun. Created a year before her death, Varo’s Vegetarian Vampires sits three textured beings slurping their sustenance from a rose, a watermelon, and a tomato with their two feline-chicken-pets perched by their feet. This inventive piece is merely one note among a masterful symphony of her work. “During the last ten years of her life, Varo invites us into a fantastic universe in which properties of the organic and inorganic, the scientific and the magical, the natural and the technological, interchange and overlap” (Kaplan, Subversive 1998).
Born on December 16, 1908 in Anglés, Spain, Maria de los Remedios Varo y Uranga’s father’s work as a hydraulic engineer sent their family to frequent travelling in her younger years, which introduced her to a variety of cultures throughout Europe and North Africa (Kaplan, Unexpected 1988, Kaplan, Unexpected 1988). This exposure would instill within her a unique vision and imagination of the world around her. She enjoyed fantastical literature and fairy tales (Kaplan, Unexpected 1988)developed a gift for mathematics (Lozano 2006) and even believed in magic (Kaplan, Unexpected 1988). Beneath the stones in her floor, where she buried her written stories spawned her interest in “subterranean life liv[ing] secretly under floors, behind walls, and within furniture” (Kaplan, Unexpected 1988). Schooled at the Academia de San Fernando, which did not allow experimentation and individual style in the classroom, she took to Surrealism “for more imaginative and personal imagery” (Kaplan, Unexpected 1988).
Nevertheless, her vision continued to shape and to develop with age.  The worlds she created in the fifties and sixties were “marked by a maturity of style and thematic development in which she explored the images, ideas and techniques that she was to work with for the rest of her career” (Kaplan 1988). Upon moving to Mexico in 1949, she discovered a sense of security that began to emulate in the color treatment of her work (Kaplan, Unexpected 1988). “[Her] colors, sobriety, as well as her subtle atmospheres stand up for an apparent serenity within her work. But if we observe her images, we perceive the universe is indeed a dangerous one,” (Molina 2008). Her exhibitions in Mexico were successful and “[her] paintings cause[d] a sensation among the public and critics. There [were] long waiting lists and commissions for works” (Lozano 2006).
One of her collections titled, “Time, Cosmos, and Energy: Paradigms of a New Science,” she “revives the binarisms of physical/ spiritual, body/mind by creating a metaphysical geometry in which both physical and spiritual realities are inscribed and operative” (Parkinson-Zamora 1992). Part of this collection included the aforementioned the Clockmaker (1955) and the Creation of the Birds (1957) in addition to the Weaving of Space and Time (1954), Useless Science (1955), and many others. Lozano describes the works in this collection as “one of Varo’s most fantastic obsessions” that “goes beyond trivial formalism, in which the aesthetic is seen as a way to explore the universe” (Lozano 2006). In such paintings, she merges concepts from the sciences and magic, in essence to create her own celestial places rendered often without adherence to actual scientific principles, or to break them entirely. Merging ideas from quantum mechanics, physics (Lozano 2006), and space-time (Kaplan, Subversive 1998), created a sense of uniformity between most of these works.
Perhaps the piece from this collection, Naturaleza Muerta Resuscitando (1963) – known as Still Life Reviving in English – is the embodiment of the entire collection. According to Kaplan’s book An Unexpected Journey, she tells us that the literal translation means “dead nature being revived”, although naturaleza muerta is an idiom for “still life”. The work possesses an inherit religious tone which is indicative in the arching architecture and the candle (Kaplan, Unexpected 1988). In addition to the similar themes and warm color treatments, eight plates lift themselves from a round table; the spinning table cloth held firmly in place by the single lit candlestick. A variety of fruit levitates around the candlelight, “swept into a whirlwind by an invisible source of energy” (Kaplan, Unexpected 1988). Their colliding and twirling is reminiscent of a solar system filled with fiery proto planets in a manner that captures the natural motions of our universe.
The phrase “dead nature being revived” is the undertone of the entire collection “Time, Cosmos, and Energy”. The very nature of our uncertain existence to the appearing immortality of the universe is revival and rebirth. For example, upon the explosion of many supernovas, the discarded gasses will inevitably gravitate to form new stars over time. A Dragon-Snap flower blooms ever so brightly in the spring and summer but its bulb begins to reabsorb it until only dry, crinkled stems remain. But come next spring, the bulb will open again to bring forth its petals in an uninterrupted cycle. Upon comparing this notion to the other works, such as Creation of the Birds, one can see that the life force given to the new birds flows from the owl’s paintbrush through a tube connected to the violin around her neck that is her heart (Kaplan, Unexpected 1988), and the light through the window “to create the ultimate synthesis of illusion and reality” (Kaplan, Unexpected 1988). Still Life Reviving joins Creation of the Birds, and the other pieces in the collection, to explore the mysticism behind the natural concept of birth, life, death, and rebirth. Such ideas form the very foundation of Surrealism.
I have always enjoyed Surrealism, particularly works by Salvador Dali, but I have really stretched my wings in research of Remedios Varo. Her paintings are filled with intense symbolism, thought, and narrative that truly speak out to me as an artist. In addition to being naturally attracted to fantasy and science, I have a deep interest in the creation of worlds that defy or skew reality and sensibility, yet still cling to the basic principles of our very existence. Beyond her subject and stylistic choices in the human-like figures, I am captured by her meticulous application of the paint and her treatment of light, color, texture and symbolism. The compositional choices and the deliberate breakup of the expected, such as linear perspective, remind me to be more relaxed with the paint and put more effort into concept sketches with small writings of what I want to achieve.  I am also quite intrigued by her use of color theory in her paintings. The warm hues chosen in some of her work, those that are stronger in yellows and oranges, bring a natural serenity and calmness where others that are richer in deeper reds approach closer to uncertainty and discomfort.
A sudden and fatal heart attack took her in 1963, creating waves of sympathy among the art world. The works of Remedios Varo are a testament, many of the biographical, to her all too short life, though a rich and diverse one full of intensity, trial, adventure, and serenity. Her destined opportunity to live in Mexico opened the doors for her to explore her artistic spirit and adapting the world’s cultures, forms of science, and intrigue of magic to create immense beauty and creativity, achieving some of the best work of her lifetime. Her fascination with fantasy, dreams, illusions mingled with reshaped reality seems to evoke either moods of harmony or dissonance within our current context of realism. She is the magical composer of a wonderful symphony developed painstakingly and whole-heartedly over the years of her life one note at a time.




Works Cited

Kaplan, Janet A. "Subversive Strategies: The Work of Remedios Varo." In A Woman's Gaze: Latin American Women Artists, edited by Marjorie Agosín. Fredonia, New York: White Pine Press, 1998.
—. Unexpected Journeys: The Art and Life of Remedios Varo. New York: Abreville Press, 1988.
Lozano, Luis-Martín. The Magic of Remedios Varo. Translated by Elizabeth Goldson Nicholson and Liliana Valenzuela. London: Giles, Ltd., 2006.
Remedios Varo: A Dream's Weaver. Directed by Isabelle Castells Molina. Produced by Centro Nacional de las Artes. 2008. Web, http://www.youtube.com/watch?v=EVmmP9t-3Mk.
Parkinson-Zamora, Lois. "The Magical Tables of Isabel Allende and Remedios Varo." Comparative Literature, 1992: 131. Web, http://www.academicroom.com/article/magical-tables-isabel-allende-and-remedios-varo