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Facebook image and quote
https://i.imgur.com/bIjwLfO.jpg
Original artwork is by REMEDIOS VARO and title of the artwork is Boceto para ‘Fenómeno (1962)
Here’s a bit about Varo per Artsy
Surrealist Remedios Varo’s paintings explore the female psyche and the domestic realm as sites of mystical revelation. Her female protagonists, depicted as heroines or mythical figures, navigate precisely rendered symbolic worlds populated by machines, magical creatures, and objects coming to life. Varo’s women appear isolated and trapped by their environments, androgynous figures with ambivalent facial expressions, in some cases bound to machines or contraptions. Often seen as an autobiographical artist, Varo uses these women as her stand-ins exploring the occult, the Kabala, and alchemy. In Papilla Estelar (1958), Varo paints a woman using a machine to capture stardust, then spoon-feeding it to a crescent moon. Through a fundamentally maternal and domestic act, the woman is positioned as a life giver to the cosmos. Varo’s work shares close affinities with that of Leonora Carrington, who employed a similar style in her exploration of the mystical. -
Following up here. This is a sketch for her painting. The painting looks like this:
And that is a man’s shadow…taking his place.
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And that is a man’s shadow…taking his place.
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The quote is from La Prisonnière, volume five of In Search of Lost Time (or Remembrance of Things Past). The quote is actually talking about the way we look at art, and through the lens we see and interpret it. Here, he’s commenting on a piece by composer Vinteuil.
The whole passage: This lost country composers do not actually remember, but each of them remains all his life somehow attuned to it; he is wild with joy when he is singing the airs of his native land, betrays it at times in his thirst for fame, but then, in seeking fame, turns his back upon it, and it is only when he despises it that he finds it when he utters, whatever the subject with which he is dealing, that peculiar strain the monotony of which—for whatever its subject it remains identical in itself—proves the permanence of the elements that compose his soul. But is it not the fact then that from those elements, all the real residuum which we are obliged to keep to ourselves, which cannot be transmitted in talk, even by friend to friend, by master to disciple, by lover to mistress, that ineffable something which makes a difference in quality between what each of us has felt and what he is obliged to leave behind at the threshold of the phrases in which he can communicate with his fellows only by limiting himself to external points common to us all and of no interest, art, the art of a Vinteuil like that of an Elstir, makes the man himself apparent, rendering externally visible in the colours of the spectrum that intimate composition of those worlds which we call individual persons and which, without the aid of art, we should never know? A pair of wings, a different mode of breathing, which would enable us to traverse infinite space, would in no way help us, for, if we visited Mars or Venus keeping the same senses, they would clothe in the same aspect as the things of the earth everything that we should be capable of seeing. The only true voyage of discovery, the only fountain of Eternal Youth, would be not to visit strange lands but to possess other eyes, to behold the universe through the eyes of another, of a hundred others, to behold the hundred universes that each of them beholds, that each of them is; and this we can contrive with an Elstir, with a Vinteuil; with men like these we do really fly from star to star.”
I’m wondering if this is an encouragement to review all of the art with the info that we have now. Mason is not who we thought, MyChild is bullshit, and where ever else that road leads.
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