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Posts Tagged ‘Surrealism’

Allegorical Surrealism

09 Aug

Astazi o sa va scriu despre Suprarealismul Alegoric.

Comparativ cu cel Metaforic, acesta exprima prin lucruri concrete (camasi, papusi, magicieni, apa…) sensurile abstracte – drama sociala si individuala, insingurarea, instrainarea, uitarea, iubirea, imbratisarea, tandretea..

Sau altfel spus, daca in Suprarealismul Metaforic prin obiecte se dadea un sens sau imaginea era dincolo de ea- gaina era femeia, piatra era sufletul… – in Suprarealismul Alegoric prin obiect se exprima ceva abstract. deci metaforic = sens concret si alegoric =sens abstract. ne-am inteles, sper.

 

Daca luam fiecare dintre cele trei tablouri vedem urmatoarele:

-magicianul care tine in “ate” intinse un balerin sau un artist, iar dupa scena e un peisaj calm. Fata de actiunea din “corzi”, agitatia “artistului” sau omului de rand, in spate este calm.

-camasile imbratisate si furoul singur, lasat stingher te duce cu gandul la un cuplu de gay – chiar daca timpurile de atunci (secolele XIX-XX) nu erau CHIAR calme, intre razboaie. totusi, culorile camasilor arata ca e un act pasnic, de sine statator. sau …chiar daca e aceeasi persoana, numai camasile si-ar arata tandretea. furoul ramas singur nu se poate mangaia nici cu manusile lasate si ele la “voia intamplarii”. Pare ca de undeva de sus e privita actiunea, iar privitorului ii e lasat doar frontalul. atat e dreptul lui, ales de artist.

-tabloul cu fata (probabil o nereida sau o naiada, cine stie?) care se acopera cu marea… sensul apei mereu a fost de liniste sau legatura intre doua lumi – cea umana si cea de dincolo. Neptun, zeul marii pare oarecum desenat in profil in stanci. Nudul feminin este dulce, linia aduce a realism sau magic realism, insa el pare aproape sculptat. actiunea de ridicare sau acoperire cu marea e si ea una facuta dupa o “oarecare” asteptare sau “drept” -castigat din pensula artistului.

 

-nudul feminin inconjurat de alte mii de capete pe deasupra … ca niste masti? well, in el ma regasesc. complet. deci in singurate, cand esti tu cu tine si iti vin sutele de ganduri, stari, masti pe care nu le vrei sa le vezi sau altii sa le descopere… cine ar putea sa simta…

-prin fereastra de lemn patrunde oceanul cusut la masina. hmm, aici sufletul, puritatea, si linistea sunt capsate de “societatea” care gaureste si lasa “urme” adanci pe suflet. poate o modelare dupa ea? artistul a luat deja decizia asta: toate se vor mula dupa cusatura (vorba/ gand/ fapta ale societatii).

 

Pe artist il cheama Alex Alemany si este nascut in Valencia, in data de 5 ianuarie 1943. Multi il trec la realismul magic. Eu nu l-as pune acolo. Nu eu.

 

Personal Surrealism

05 Aug

Frida Kahlo de Rivera was one of the representative painters of Surrealism.

I still have 2 painters – her (today) and Salvador Dali (Again)- to comment a bit in this “personal project” called SURREALISM STUDY.

Back to Frida.

She was a Mexican born in 7th of July 1907 and her work it’s a multitude of styles – from Magical Realism, Naive Art, Cubism to Surrealism and Social Realism.

Little story: she erased 3 years from her age – always claiming she was born in 1910. Reason? none known.

In almost all her work she made self-portraits. Vanity? EGO?

maybe both. maybe none. Maybe she considered herself the best model to be paint. Maybe none of the persons around couldn’t expressed and represent her “ways”.

First let’s see some of her works – known.

 

When I see her paintings I remember the start with selfies.

Ofc, I can’t compare her work with a camera VGA or Zeiss Lens and megapixel but I is the same “subject” and “area”.

She always have that mask-like stare and focus our attention at the objects that frame her gaze – animals (birds, mammalian), other side of her, organs or objects.

For instance, she is accompanied by a cat, monkey and the all-important thorn necklace with hummingbird. Maybe it is the symbolism of these objects that tell us more than the face itself – the freedom and playfulness that the hummingbird evokes is underpinned by the death it meets.

 

In the personal live Frida was married with the muralist painter Diego Rivera whom she considered “the big-baby” even if he was 20 years older than her -he was her teacher .

Between 1930-1934 she stayed in US with Diego. She didn’t enjoyed that stay: “The most important thing for everyone in Gringolandia is to have ambition and become ‘somebody,’ and frankly, I don’t have the least ambition to become anybody.”

“Self Portrait on the Borderline between Mexico and the United States”. de pe net

“Self Portrait on the Borderline between Mexico and the United States”. de pe net

de pe net

de pe net

The 2 Frida have different hearts and different clothing. Why? IS not the same Frida? Maybe she is not herself how we want her to been seen? Yet Kahlo stands torn between two worlds, marking the dramatic intersection between the industrial capitalism of the US and earthy spirituality of her homeland. Maybe there is a Frida image from US and one in Mexico… Could it be possible to be seen under that gaze? turned to the viewer?

Kahlo juxtaposed Mexico’s pre-Hispanic roots with the US, where and its representative as being  a land of industry. It appears that though she may physically be in the US she is loyal to Mexican roots.

Another subject in all the paintings with babies is actually Diego, in which SHE expressed her feelings – and after this she is vulnerable to the viewer.

 

As a conclusion to Frida’s works?

Kahlo’s self-portraits are not a Dorian Gray invitation to see the soul of the artist through her face.

She invites us to look not at her face, but at what lies beyond and around it -Kahlo’s animals, clothes, foliage, that are so strongly indicative of the artist, showing the emotional and the social connections that manifest themselves in her identity as a whole / unity.

 

 

 

 

 

 

 

MYSTIC Surrealism

31 Jul

Continuu cu un nou capitolas si anume Suprarealismul Mistic sau Tainic.

Aici am gasit doi pictori, pe Jose Roosevelt si, respectiv, Remedios Varo. Primul este nascut in Brazilia, iar Varo a fost UN ARTIST din Spania.

Lumea lui Jose Roosevelt este una plina de intelesuri ascunse – pe langa trupurile feminine destul de detaliate as zice eu – regasim pere, mere, copaci (uscati pe alocuri), carti, masti, zane, tablou in tablou. Orizontul lui Jose este clar, nu este intunecat – nu simti o apasare anume atunci cand te uiti la tablourile lui.

Pe langa pasiunea lui pentru Dali – care se regaseste prin munca – sunt si anumite elemente a la Magritte – anumite panze care acopera trupul, prin care se intrezareste perechea de sani sau o alta care priveste tabloul din spate (ca si cum s-ar uita pictorul sau oricine la femeia care canta la o para (contrabas).

DACA ma intrebati pe mine ce vad cand ma uit la o para as zice ca privesc senzualitatea la maximum! din care abia astepti sa te infrupti, sa iti infigi …dintii! (Sa nu zic altceva!). De asemenea, cand mai vad o para mi se pare ca renunt la mar – adica e un fel de alegere unilaterala, ca un fel de rapire a placerii. In plus, sanii in forma de para sunt cei mai materni, sunt plini de lapte si la/sub care te simti in siguranta, nu?

In cazul artei lui Varo intalnim masti, instrumente ciudate de cantat, e o lume ezoterica, tainica alaturi de stiinte, arhetipurile psihanalitice, Pamantul si originea sa, spatiul si infinitatea sa, precum si tot ceea ce ne leaga cu el. Cu toate acestea, ruperea elementelor tablourilor sale depaseste o analiza estetica. De asemenea, sa nu uitam ca o parte din opera sa apartine unui curent bazat pe experimentarea artistica – suprarealismul – dar altul este setul de vise lucide, experiențele sale fantastice si abilitatea sa incontestabila de a transforma obisnuitul in nedumerire -elemente de expresionism.

 

Pe coloana dreapta, mijloc aveti o femeie care coboara scarile si iese dintr-un „templu” -sa-i zicem asa.

Mergand pe scari cu capison si mainile una in alta, „ea” fuge de tot ceea ce se stabileste, departe de acele conventii care te impiedica sa iti eliberezi gandul si simtirea. Pe masura ce face un pas, privirea ei se indreapta spre hartiile care scapa printr-o usa pe jumatate deschisa, care insa nu sugereaza nimic. Cu toate acestea, numai Remedios si acele idei sub forma de cuvinte pe hartie sunt singurele lucruri care îndraznesc sa paraseasca locul – sa treaca limitele si sa caute inspiratia (care lipseste in cladirea aceea). Pe acestea sunt privirile celor care parasesc zidurile reci -nu este necesar ca pictorul sa le detalieze ca sa-ti dai seama ca ceilalti raman imobili, lasi sau incurcati in propria „nestiinta”. Poate vreo privire este mandra sau geloasa fata de calitatea acestui calator curajos care pleaca.

Pozitia personajului principal este oarecum eterica – misterul isi face aparitia înfasurata într-o mantie, sub o masca nerabdatoare sa fie dezvaluita. Culorile din opera lui Remedios ne dau indicii despre arta sa – rosiaticul si sepia sugereaza in acest caz ca e o seara, o zi care aproape se termina. putem presupune ca se pregateste sa se inchida un ciclu si sa inceapă un altul.

De ce imi place miscarea suprarealista?

Pentru ca exponentii ei au fost intotdeauna identificati cu aceasta sarcina de a gasi noul si neexploratul in totul – atat in ​​ceea ce i-a inspirat, cat si in ceea ce au creat.

Identitatea apare oarecum ambigua sau difuza – pare ca e barbat insa in acelasi timp pare o papusa/marioneta purtata de mainile unui papusar de dupa ziduri (randul de jos, stanga).

Suita de femei (acelasi rand de jos, mijloc) este una diferentiala si diferentiata, pe statut social (haine), varsta, culorile parca iti dau impresia ca unele sunt mature si altele nu, intelepciunea fiind o taina – sau nu? poate sa fie orice alta valoare.

In spatele majordomului apare o umbra – poate gandurile adevarate ale acestuia fata de acelea pe care le rosteste?

Chiar daca cei doi artisti par diferiti – ca unul pare mai „clar”, pe cand celalalt e mai „creepy” (aparent), TOTUSI Taina e cuvantul lor comun.

Suprarealismul Mistic ascuns in simboluri care mai de care mai „altfel” la care nu te astepti este unul aparte. De la pere, mere la simbolul culorilor, gesturilor, hainelor, cartilor sau stiintei toate iti alcatuiesc o Taina. Pe care sa o deschizi, citesti, gusti, auzi…

 

 

 

Fantastic Surrealism

30 Jul

Sa ne intelegem, Fantastic Surrealism PROPUS de mine e diferit de REALISMUL Magic – “sustinut si inventat” de Franz Roh incepand cu anul 1925 si in care se intalnesc urmatoarele:

-elementul de mit, de legenda, fabula in context contemporan, real

-ceva ce ti se pare ca se explica in lumea copiilor – copiii vad vaci zburatoare, nu?

-tot ce se vede e impletirea hibrida dintre realitate si oniric

-ai povestea in poveste – ai un plan central (vaca de zboara) si in jurul ei mai ai mici povestioare, diferite de prima.

-uneori se aplica si o usoara critica -nu a ratiunii pure, din contra. cea practica (e tot de Kant). PE SCURT: se iau anumite detalii ale societatii DE CARE “se rade”  cu o nuanta “lirica”.

Revenind acum la Suprarealismul Fantastic, la o prima vedere ar parea ca am luat-o razna, ca pare deja pleonasm si ca, de ce nu, nu inteleg nimic din ceea ce vad.

OK. nu zic nici opusul, doar va demontez gandirea, piesa cu piesa – asa e mecanismul meu, pam pam.

In primul rand, Leonora Carrington ofera un spatiu in care exista O SINGURA POVESTE, care iti curge si se desfasoara in fata ochilor.

CUM?

cu usurinta, estetic si de ce nu incredere in ceea ce face.

 

 

Motto-ul suprarealistilor era “sa traiasca o revolutie sociala si numai pe aceasta sa o duca mai departe”-long live the social revolution, and it alone! 

Cate ceva despre pictorita, totusi.

Leonora Carrington s-a nascut in Anglia, spre finele Primului Razboi Mondial, in anul 1917, intr-o familie de bogatasi – ma rog, mie mi se par toti englezii bogati, dar e doar asa, din departare. In 1937 il cunoaste pe suprarealistul Max Ernst, care era insurat si cu care se va muta, iar asta se va vedea in lucrarile ei. Nu ca il copiaza! NU! Ci in modul in care “compune” pictura.

Cu toate acestea, Ernst e luat pe sus, la ordinul lui taica-su Leonorei, bagat la racoare (1941), si pana la urma, intr-un final,Leonora Carrington reuseste si ajunge in Mexic, unde…va si muri(2011). Interesant e cum face ea baie imbracata si in fata ei e Bunuel… mirific. :)) 

O carte despre The Surreal Life of Leonora Carrington exista, deci… Poate o gaseste careva netradusa, dar macar live sa o vad la fata. :))

In alta ordine de idei, Leonora Carrington a scris si nuvele, piese de teatru, a facut si sculpturi, plus pictura.

 

Revin la termenul de Fantastic.

Se dau tablourile =  http://www.leocarrington.com/paintings-pinturas.html

 

Lumea ei pare a la Hieronymus Bosch – desi cu creaturi ciudate, grotesti uneori, ele AU O SINGURA POVESTE (PE CARE O URMEAZA INTREG TABLOUL). Ca la Bosch exista un triptic (la Hieronymus poti vedea de la ingeri, serafimi, draci, sarpe, Adam si Eva.. pana la “Judecata”), de aceasta data e format animale. La Carrington vezi sarpele-ghepard in partea dreapta (stanga), la mijloc un fel de lup cu cap de ruda a soarecelui (Care canta la o mandolina) si in a treia piesa e o caprioara-girafa, semi-asteptand-pandind dupa copac. Apare, ca la Bosch, ideea de pacat, de imaginar si sufletesc, de dincolo de simplu tablou de privit.

In primul rand nu se subliniaza DARK SIDE din mintea ei, ci idiosincrasia – “eu sunt altfel”. Adica eu sunt alfel, nu sunt obiect, nu sunt oricine. SIMT! GANDESC!

 

Iau un tablou la plesneala. acela cu “o ea” pe fotoliu, cu o fereastra prin care “se vede un cal zburand”, insa “atarnat de perete” pare un cal de jucarie (de te pui pe el si te balansezi inainte si inapoi pe talpi) si ca animal de casa, pare o hiena-zebra. cadrul suprarealist, elemente “ciudata” -revolutia sociala (poate puteau fi puse alte elemente, dar ar fi stricat povestea). Fiecare animal are o semnificatie – calul alb, puritatea si in acelasi timp spiritul libertin, iar hiena-cu-dungi PARE a fi senzualitatea, pacatul, rautatea sau orice, dar decadent. Petele de culoare sunt contrastante si in acelasi timp, formeaza impreuna o poveste unica: omul din afara sa si din-nauntrul sau. Ca si cum dintr-o pata alba vine si catre o alta neagra se indreapta.

Societatea – chiar daca e singulara, in acest caz o femeie- este una complementara, cu revolutii interne si care “Asteapta” parca intr-un timp care nu mai se scurge, care devine “atemporal”.

“fantoma” care tine o maimuta-cu-mai-multe-brate pe mana, iar cadrul este completat de o vaza in care apare un chip de caprioara, masa care parca e la raze si se vede un alt mamifer, pe pereti se vad tot felul de aripi- ornamente… iarasi este o compozitie plina de semnificatie – cursul albului orbitor, curat, nepatat schimbat de dreptunghiul rosu, ca o pata de sange pe perete…

Carrington ne da sansa ca printr-un fantastic semigrotesc – nu e atat de brutal si incarcat ca la Bosch (a nu se intelege altceva, imi place Hieronymus)- sa ne identificam sau nu. Fiecare alege ce vrea, pana la urma libertatea consta si in ALEGERE, nu?

Partea subiectiva e usor de ghicit.

Pana si obiectele sunt personificate, IAR spaimele au chip – corb, un fel de vrajitoare, balena, rechini, …sunetul fiind de suierat dupa tine. ca o adiere uracioasa, rece, stridenta. brrr!

CUVINTELE EI: “I WARN YOU, I REFUSE TO BE AN OBJECT.” – te-am avertizat! refuz sa fiu un obiect! mi-au ramas in cap de mai mult timp si … fiind o FEMINISTA, asta e… KEEP going. Carrington a fost prima femeie femista – cel putin declarativ.

 

 

 

 

 

Lyrical or Musical Surrealism

28 Jul

 

Propun astăzi Suprarealismul Liric sau cel Muzical, dat fiind tematica, adaptabilitatea și includere realității într-o lume LIRICĂ.

Michael Cheval face din Suprarealismul clasic o notă distinctă, elegantă, plină de rafinament și armonie.

Fiecare tablou are câte un instrument muzical, iar bufonii sau personajele feminine trebuie să cânte sau să asculte o melodie – oricare.

Tematica este una subtilă, plină de înțeles – viața fără muzică este fadă, aproape că trece degeaba sau că exiști fără să trăiești.

Cheval  arată că picturile pot transmite sunete. parca asculți vioara pe care ți-o întinde arlechinul sau femeia care dă să apese pe clapele pianului. TOT mecanismul este simplu, nu e nimic complicat. Postarea în spații nedefinite, cu elemente animaliere.

Sunetele te vor învălui odată ce accepți pictura în sine. Dacă nu îți place, nu vei auzi nimic.

Pick-up-ul nu se va pune în funcțiune, trompeta nu va scoate niciun sunet dacă nu sufli.

Picturile lui Cheval trebuie ascultate ca sa intelegi in sine. Dacă te uiți  că e doar o vioară, cu doi cai și o tipă NU înțelegi la ce te uiți. 

Găsești mandoline, chitări, harpe, viori, pian, flaut… și parcă pe tematică sau în funcție de stare – mandolina=copilărie, chitara, harpa – idile, flirt, romantic…

Mai găsești printre tablouri lumea magică – zâne, spiriduși..- și basmele cunoscute într-o manieră proprie. Cenușăreasa nu are 2 șobolani la dovleac, ci doi dalmațieni, iar dedesubtul caleștii ceasul ticăie (legătura cu faptul că trebuia să se întoarcă înainte de miezul-nopții acasă, până când sunt valabile „caleașca și rochia”).

Albă ca Zăpada se uită în oglindă de mână și în spate pare că e regina cea rea…Scufița Roșie pune lapte lupului într-o farfurie …

Păpușarii țin în sfori pe privitori/spectatori. O altă viziune proprie.

Arta lui Cheval este plină de culoare, interacționează cu tine – prin sunete, poveste- și te transmută către noi raționamente în timp ce simți. O combinație bună, nu? Cerul de obicei e constituit dintr-o perdea cu forme umane sau fantastice – si acolo e o actiune (caii care alearga, bufoni, spirite, femei, harti de stari si gesturi).

Lumea lui se include într-o altă viziune, în timp ce poate fi descoperită într-o alta.

 

Today I propose Lyrical or Musical Surrealism, given the themes, adaptability and inclusion of reality in a LYRICAL world.

Michael Cheval makes Classic Surrealism a distinct, elegant note full of refinement and harmony.

Each painting has a musical instrument and the buffoons, the female characters must sing or listen to a song – any kind.

The theme is subtle, meaningful – life without music is empty, it almost passes in vain if you live without it.

Cheval shows that paintings can transmit sounds. As if you were listening to the violin played by you or the woman who pushes the piano keys. ALL the mechanisms is simple, it’s nothing complicated. Posting in undefined spaces with animal elements.

Sounds will envelop once you you accept the painting itself. If you do not like it, you will not hear anything.

Pick-up will not work, the trumpet will not emit any sound if you do not blow in it.

Cheval’s paintings must be heard to understand themselves. If you look at the painting and all you can see it’s just a violin, two horses and a chick You do not understand what you’re looking at.

You can find mandolins, guitars, harps, violins, piano, flute … and these can be associated by theme or status – mandolin = childhood, guitar, harp – idiots, flirting, romantic …

You can find among the pictures the magic world – fairies, spirits … – and fairy-tales that you know appear in Cheval’s own way:

Cinderella does not have two rats at the pumpkin but two Dalmatians, and underneath the cage the ticking clock (makes the connection with the fact that they had to return before midnight at home until the “gauntlet and dress” are valid).

Snow White looks in the mirror by the hand, and in the back she seems to be the evil queen …

The Red Riding Hood puts milk to the wolf on a plate …because he’s hungry.

Puppets hold the viewers -another Cheval’s own vision.

Cheval’s art is colorful, interacts with you – through sounds, stories – and convey you to new judgments as you feel. A good combination, right?

The sky usually consists of a curtain of human figures or fantastic form – and there is an action (running horses, buffoons, spirits, women, state maps and gestures).

His world is included in another vision, while it can be found in another.

 

Dreaming Surrealism

26 Jul

Despre Jacek YERKA 

JACEK YERKA s-a nascut in Polonia in anul 1952, a studiat Artele Plastice și Grafica inainte de a deveni “artist cu norma intreaga” in 1980.

In Suprarealismul Oniric te astepti sa iasa cineva din sertar, careva sa porneasca o masina-crocodil – poate chiar tu?-, fata sa doarma pe un lac si la capul “patului” sa aiba o noptiera cu veioza si un pahar cu apa, in gradina de flori sa ai mobilier prozaic de lemn (o sufragerie).
Elementele naturale se armonizeaza ca-ntr-un ansamblu de mobilier Ikea cu flori sau lac sau cine stie ce animal.
Lumea Jacek este una plina de culoare, copilarie, candoare, blandete – e ca un basm din care nu vrei sa te trezesti – pentru ca ai da cu capul de realitate ori stim ca nu e cel mai placut lucru sa te lovesti de facturi (de exemplu).
In plus, tot Jacek exprima si personalul, intimul din jurul lui – elementele de mobilier din jurul lui. Pana si casa din desert are “o salvare” – ligheanul pe scaun, agrafa pe post de antena, ca apoi sa intri intr-o padure-baie, pe care iti gasesti ceasul de mana, periuta de dinti, oja, parfumul, spuma de ras, aparatul de barberit, iar apa de la robinet vine din …paraul din padure.
Este o lume in care vrei sa evadezi si simti ca ai vrea sa stai. cel putin eu m-as baga in patul din padure – tabloul in care ai tot decorul de camera de dormit si in acelasi timp ajungi printre copaci.
Printre animalele des intalnite se afla melcii – probabil pentru simbolul lor (credinta, smerenia, renasterea periodica) sau pentru esteticul lor (elegant, armonios, simetric), cine stie?-, crocodilii, pisicile, cainii.

Sa va zic ca trebuie doar sa pasiti cu picioarele goale in lumea Jacek? Sa nu vorbiti, pentru ca e atata nevoie de liniste intr-o lume care zice nimicuri si e goala?
In acest fel putem scapa – urcand trepte pana in ACOLO unde crezi ca nu mai ai de unde cobori inapoi (spre realitate).

Printre tablouri se afla un decor de padure cu o barca condusa de un zar (pe partea cu 4 puncte),cu mobila de sufragerie sau de camera in care omul are biroul de lucru .. pe care se afla o pisica salbatica.

Apoi vine un tabloul in care mobila de baie -cada-crocodil e interesanta- e preambulul intrarii in padure..
Cred ca padurea este in sine un element nu numai des intalnit in arta Jacek, dar presupun ca simbolizeaza ceva aparte pentru artist.
Cat despre imbinarea elementelor din real cu cele din fictiune, ramane sa o luam pe scurtatura – e o parte a suprarealismului, in care, in situatii reale, apar elemente “supranaturale” care nu-si au locul.
Daca majoritatea considera arta un peisaj sau un portret, oamenii “altfel” aleg abstractul, visarea, lumea ideilor si raman in ea, scrijelesc cu unghiile doar-doar sa nu fie smulsi din “lumea lor”.

Printre temele lui Jacek se afla timpul – dovada stau ceasurile aproape prezente peste tot – si copilaria – numai copiii vor sa vada asa lucrurile, pana afla exact ce face fiecare obiect (cum ar fi aspiratorul-crocodil/aligator sau libelula-casa) sau intr-o camera de zi sa isi imagineze un lan de rapita.

E interesanta pictura cu cei doi cai, piese de sah, care stau la masa, fata in fata, sub un ceas care e prins in copacul acela cu becuri. In plus, in acelasi tablou vedem cum figurile de pe masa sunt castele, iar dedesubtul mesei se afla drumul catre padure – spre evadare. Figurile de sah sunt alb si negru – o trimitere catre ideea de bine si rau sau lumina si intuneric, antiteze pe care subconstient le adaugam in dreptul fiecareia.

Ca o concluzie a suprarealismului lui Jacek?
Abia astepti sa te intinzi in patul din padure, sa te speli pe dinti si sa folosesti apa care vine dintr-un parau, sa lucrezi pe biroul unde te asteapta o pisica salbatica – ciudat, eu chiar as vrea si imi place sa visez cu ochii deschisi – pentru ca atunci cand inchid ochii nu e nicidecum un vis frumos.

About Jacek Yerka 

JACEK YERKA is born in Poland in 1952, he studied fine art and graphics prior to becoming a full-time artist in 1980.

In Oniric Surrealism you expect someone to come out of the drawer, to start a crocodile car – MAYBE YOU?-, to sleep on a lake and at the head of his bed to have a nightstand with a lamp and a glass of water, in the flower garden to have Wooden prosaic furniture (a living room).
The natural elements harmonize as an ensemble of Ikea furniture with flowers or lake or something from the animal area.
The world of Jacek is a colorful one, childhood, candor, gentleness – it’s like a fairy tale and you do not want to wake up – because you want to let go of reality. or we know it’s not the best thing to hit your bills example).
In addition, Jacek also expresses the staff, the intimate around him – the furniture items around him. Even the house in the desert has a “salvage” – the bowl on the chair, the clip as a dish, then walking into a bath-house, which you find your hand clock, toothbrush, ointment, perfume, foam Shaving, barber apparatus, and the tap water comes from … the rainforest. surprised?
It’s a world where you want to escape and feel like you want to stay. At least I would put myself in bed in the forest – the painting in which you have all the decor of the sleeping room and at the same time you reach the trees.
Among the common animals are snails – probably for their symbol (faith, humility, periodic rebirth) or for their aesthetics (elegant, harmonious, symmetrical), who knows? -, crocodiles, cats, dogs.

Let’s just say you just need to step barefoot in the Jacek world? Do not talk, because there’s so much need for peace in a world that says nothing and it’s empty?
In this way we can escape – climbing stairs up to where you don’t think you’ve got where you descend back (to reality).

Among the paintings there is a forest decoration with a dice-led boat (on the 4-point side), with dining room furniture or a room where the man has a work desk with a wild cat. Then there comes a painting in which the bathrobe – crocodile is interesting is the preamble of entering the forest.
I think the forest is itself an element not only common in Jacek art, but I suppose it symbolizes something special for the artist.
As to the combination of real and fictional elements, it remains to take a shortcut – it is a part of surrealism, in which, in real situations, there appear “supernatural” elements that have no place.
While most consider art a landscape or a portrait, “the” people choose abstract, dreams/dreaming, ideas and people remain in it, scratched with nails only-just not be plucked from “their world”.

Among Jacek’s themes are the time – the proof is the presence of almost everywhere watches  – and the childhood – only children want to see things, until they know exactly what each object does (such as a crocodile/alligator-car or dragon-house vacuum cleaner) or seeing or imagine in a living room a rapeseed field.

It’s interesting a paint with the two horses, chess pieces, sitting at the table, face to face under a clock that is caught in that tree with bulbs. In addition, in the same picture we see the figures on the table are castles and below the table is the road to the forest – the one to escape. The chess figures are white and black – a reference to the idea of good and evil or light and darkness, antithesis that we subconsciously add to each one.

As a conclusion of Jacek’s surrealism?

You can not wait to stretch yourself in the forest bed, brush your teeth and use the water that comes from a waterfall, work on a desk where a wild cat is waiting – weird, I really like the idea and like to dream with Opened eyes – because when I close my eyes it’s not a beautiful dream (usual).

 

Meet Jacek Yerka

 

agar eileen or the figurative surrealism

05 Jul

 

Eileen Agar is a lady of Surreal and I said – my humble opinion- that she does more Figurative Surrealism.

Figurative not as a figurative speech by itself, but art beeing expressed by geometrical figures.

Let’s have a look at a few samples from her work first:

Agar’s figures are cubist and geometric, not feminine or slightly voluptuous. They’re fixist, like they are looking at you. Even though you may sometimes be tempted to encompass Agar’s work in another artistic area- either the last period of Expressionism and the beginning of Symbolism, the background and the themes are Surrealist.

The lines are masculine, cold, the colors are mostly primal, with a combination of naive tinge – in the center it’s the idea, and the background being the “surrealist situation”.

The self-portraits include cold shades, as if they were self-indulging. It does not emphasize anything, everything is lost in geometrically or slightly modified geometric figures – the line of the nose, the mouth and the throat – and on the outside are found elements of cubism.

Agar’s art seems cold to me, because no matter how much I try to empathize, it seems to me that it leaves me outside. It also appears cold because of the geometry itself that creates the feeling that ‘you have to know a code to understand me’.

Agar is, from my point of view, a figurative artist of Surrealism also by the language that she offers – a that code that you need to decypher (discipline, loneliness, fixation, fullness of the image itself) – and predominantly masculine line.

I find her work very graceful. It’s a cold grace that you do not catch from the first moment, but if you focus on the object possessed – the painting –  you can manage and find it quite attractive..

 

The suprarealism in real 3D

25 Nov

Since August I’m trying to make something special for Simone Vela, the surealist 3D graphic artist from Palermo, Italy.

First of all let me put you here some of his stories and interviews. Maybe you will find his work interesting as I saw  – and still I am! -.

http://sincrotrone.blogspot.it/2015/07/incontriamo-simone-vela-eccezionale.html

His art is different. Very thematic and very sensitive to the consciousness, human evolution, the dream, the myth of femininity and the myth of motherhood  and many other topics about which I will speak later. Simone Vela worked 20 years as a ceramist, in Sicily. But before ceramic part, he was a painter. When the computer developed and became what has become today for everyone, then Simone Vela worked as a illustrator 3D.

Since he was a child he was a free spirit. He is autodidact, didn’t studied at University of Art or something related. And I find that very good, because I can imagine that maybe that wing called imagination couldn’t done better than this. Because I am the same -modest me! 😉 – .

He consider himself a surrealist but not the traditional way – which is True.

SOURCE: https://www.facebook.com/simone.vela.7/photos

I have to confess: I ADORE SURREALISM. maybe I have a fetish or something but… I’m really and madly in love mentally with this spirit of aesthetic.

So my first reaction was: IT IS IMPOSSIBLE.. HE JUST DID THAT?! WHAT I SOMETIMES DREAM?

then I was very happy when I took an interview – on facebook-.

But the same conclusion I have. :)

I saw in his works the surrealism and symbolic parts. the symbolic surrealism 3D. That’s what we discussed.

First of all: the symbolism of the egg and in the same time the maternal myth. Females in his vision make eggs. the logic is maybe related to the ethereal and the spirit (he will fly at some point of view!). Then… THE SAME EGG makes the life – death cycle and death occurs with it. the maternal myth is alive, that makes this form that egg. The woman is seen as both alpha and omega – the beginning and end of life. The myth of society is seen as a judgment or as a kind of purgatory in which man is serving and confess sins.

It may also occur myths of dream and consciousness  in which either men or women go into another dimension – the spiritual and facts. It is understood that the man himself is conceived – and preconceived- in present judgment (reason) and emotion (dreaming) – and that the individual survival becomes a game of life and death. the individual  can always be expelled or rooted out of society or “family”.

People are skeletons, animals and cosmic elements – the birth from the cosmic egg- … then they pray or wear with piously the cross of Jesus. The Myth of Jesus becomes the leitmotif, for which there is a sub-theme of surrealism, the religious one.

Children’s that appear in are wearing and transport  either dead ends or crosses. Their figures and expressions on their faces  say more: fear or blessing? all alike.

That’s what I had had to say about Simone Vela’s WORK! :)

 
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Posted in visual arts and dance

 

Philosophical Surrealism

26 Mar

Today I will talk about the Philosophically Surrealism and Alberto Savinio, real name Andrea Francesco Alberto de Chirico, world and works. He was the youngest brother of Giorgio de Chirico.
A small / big difference between the metaphorical – the paintings hide message -and the metaphysical – in which a blank space is beyond space and were personified objects loaded with energy and mystery, hiding – here at Alberto Savinio we meet the playful philosophy and irony.

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What we see here?
We see the ironic form of life: women exchanged in chickens, which awaits the weird – and possibly their personality is reduced to that of a chicken-, a new form of Penelope that waits her husband at home, on the waterfront, a sexualized and effeminate centaur. All these visions took me to the philosophy of life – even if it can be sometimes a misogynistic one-. Or he wanted to illustrate and attract attention. If he would have more dogs we concluded that it would be duality divine – a shame, but the hen philosophy is something sought.
That is not really a flying bird and this could be a hint that women have the same aspirations, material: house, kids and that’s all.
Birds can symbolize the spirit, intelligence, because, as the Rig – Veda says, “Intelligence ( Manas ) is the fastest of the birds “.
in interpreting dreams a hen does mean prudence, maternal care and procreation.

Why do I call Savinio’s style Philosophically?
Because it have the connection with reality (here he has Surreal situation) + existence (material vs non-material) + knowledge ( a standard of what can be or what it is!) + values ( hidden meanings) + reason (what mind/ rational can explain) + mind (what mind sees) + language (in this matter it’s a form language, with colours and lines).
It’s a bond between the
truth(not Universal!)/
belief(subjective)/
perception(visual)/
justify the words( here we have the images).
So everywhere we look at Savinio’s works we see an ironic form of playful Philosophy.
We even meet a form of philosophy of art in spontaneous situations, surreal. This form I’ve called it philosophical Surrealism.

 
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Posted in cultural international, visual arts and dance

 

Monomorphic Surrealism

21 Mar

Today I will talk about the Monomorphic Surrealism and his ‘owner’ Rodolfo Opazo Bernales.
Monomorphic = an organism which it’s changing little during his evolution/ life circle.

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Rodolfo Opazo Bernales is born in Chile in 1935.
His human shapes look like white blocks of stone, reflecting the theme: death, spirituality or even the path.
There is a mystical atmosphere and the human condition from being made by God’s breath and stone.
Bernales made the universal man and female – no faces, no features showed on their body – with no emotions. What we can see there, it’s the unity converted in sarcasm, erotic or irony.
He tried many forms. From showing death in one form who puts his head into the ground to the judgement in public of a girl.
The colours are very dry, not warmt at all and very little -as number- 3-4 be all – white, yellow, navy-blue, black.
Being an art lover – poetry, literature, music,environment – Bernales finds his way in Surrealism in his concept and Surreal situations.
If we cannot see that large space full of figurative elements or monsters we can say that he is not a surrealist painter, but the colours are good and gentle, the attitude might confuse us and say it’s just a banal painter,maybe an Expressionist.
The amplitude of shapes,the elegant shapes,the surreal situations, even judging women in a public space – unknown one – Bernales becomes a fine painter of the characters – unknown also -.
His vision in Surrealism it’s Monomorphic for me because his human figures are in the same manner – shapes, colour (white)- and in the same way, they don’t distinct too much one from another and look like some marble stones – maybe with feelings, but can’t distinct that part -.

http://www7.uc.cl/faba/ARTE/AUTORES/Opazo.html