Mark Rothko
Jackson Pollock
On my abstract practice
I am deeply curious about the underlying relationship between forms, much like the way Bridget Riley’s optical compositions invite us to perceive rhythm and movement within shapes, or how Wassily Kandinsky explored the spiritual resonance of abstract forms. This fascination with form feels akin to quantum mechanics, where the fundamental nature of particles is both a mystery and a revelation—uncertain yet full of potential. I take great pleasure in noticing the shapes and forms that make up the world—how they intertwine, overlap, and leave behind negative spaces. These voids, like the pauses in music or the spaces in Alexander Calder’s mobiles, are moments of balance and resonance, much like the vacuum in quantum theory where fields and energy fluctuate unpredictably, yet harmoniously.
It feels as though I now see more than twice as much as I ever did before. The world has opened up, revealing layers of complexity and engulfing me in its richness. I am not always certain of what I am doing, but I have come to realize that this uncertainty mirrors the principles of quantum superposition—where multiple possibilities coexist until an outcome is realized. And, as I’ve discovered, this uncertainty is a gift. After all, how dull would life be if every answer were predetermined? Mystery fuels creativity—it is why I paint.
Every stroke of paint feels like an experiment, a step toward breaking through to something greater. I am constantly working on reaching a breakthrough in my work, striving to uncover a deeper understanding of the forms and patterns that captivate me. Like a physicist attempting to decode the secrets of the universe, I delve into my art seeking those elusive moments of clarity and revelation. Each canvas is a field of infinite potential, a place where abstraction becomes a language, even though nothing is ever truly abstract in my visual vocabulary.
Just as quantum mechanics suggests that reality is interconnected at its most fundamental level, I find that my work seeks these connections between shapes, forms, and emotions. Like Kandinsky’s belief that colors and forms can evoke profound truths, or Riley’s pursuit of optical harmony, I approach each canvas with the hope of discovering something new, always thinking I can do better next time. It’s this interplay of striving, uncertainty, curiosity, and the ever-unfolding mystery of existence that makes painting my endless pursuit and passion.
EXHIBITIONS ART IN 2023
The art world of 2023 was indeed a cornucopia of historical revelations and contemporary expressions. At the heart of these revelations was the astonishing discovery of Artemisia Gentileschi's "Susanna and the Elders" at Hampton Court. Hidden in plain sight and misattributed for centuries, this painting's re-emergence not only redefined Gentileschi's oeuvre but also shed new light on the narrative of women in art history.
In parallel, the legacy of Joshua Reynolds was re-evaluated and celebrated, marking the 300th anniversary of his birth. His influence as the first President of the Royal Academy and his contributions to the canon of British art were deeply explored, notably through an exhibition at The Box in Plymouth. The joint acquisition of his "Portrait of Mai" by the National Portrait Gallery and the J. Paul Getty Museum further exemplified the enduring relevance of his work.
2023 was also a year that saw a remarkable array of art fairs across the globe. From Art Basel in Hong Kong to Art Paris, Enter Art Fair in Scandinavia, Investec Cape Town Art Fair, Market Art Fair, and EXPO CHICAGO, these events celebrated a diversity of contemporary artworks and attracted a global community of artists, collectors, and enthusiasts. They were crucial in shaping the art market and cultural discourse of the year.
Major exhibitions around the world also left indelible marks. "Bob Thompson: This House Is Mine" at the Hammer Museum, for instance, revisited Renaissance masterpieces with a contemporary perspective. The Museum of Modern Art's "Georgia O’Keeffe: To See Takes Time" highlighted her innovative works on paper. In Tokyo, Hiroshi Sugimoto’s retrospective at the Shoto Museum of Art combined his photographs with historical artifacts, presenting a unique dialogue between past and present.
Surrealism, a movement with its roots in the early 20th century, experienced a significant resurgence in 2023. This renewed interest was evident in several museum exhibitions and permeated various forms of visual culture, from galleries to films. It reflected a collective sentiment of our times, commenting on the complexities and absurdities of the modern world
As the year 2023 comes to a close in the art world, a most exhilarating period indeed! It was a year that saw the confluence of traditional mastery and contemporary dynamism, particularly in the vicinity of London's hallowed Royal Academy. Across the street, the Flux Exhibition, held in Piccadilly, emerged as a remarkable counterpoint to the retrospective of Marina Abramović at the Academy.
The Flux Exhibition, a veritable feast for the senses, showcased an array of contemporary artists whose works embodied the spirit of innovation and creative audacity that defines our times. Among the illustrious artists was MOD Marcela Olivia Dorantes, my canvases were nothing short of a revelation.
Dorantes’ works, particularly "Joan of Arch and the Turtle" and "Joan of Arch and the Lion", I presented an intriguing interplay of historical narratives and animal symbolism. These paintings, rich in texture and depth, spoke volumes of my artist's ability to juxtapose the legendary figure of Joan of Arc with animal motifs, thereby weaving a tapestry of myth and reality. The choice of animals, a turtle and a lion, could be seen as metaphors for resilience and courage – qualities synonymous with Joan of Arc herself.
In addition to these, the series "Dreaming London" Cats paintings are a delightful ode to the city's less celebrated inhabitants. Painted with a finesse that captured the enigmatic aura of felines, this work resonated with the vibrancy of London's urban landscape. The backdrop of Tower Bridge not only anchored the paintings in a specific locale but also added a sense of grandeur and history. The artist self portrait explored her attendance to other art exhibitions in the city notably Tim Patrick.
The Flux Exhibition, in juxtaposition with the Abramović retrospective, encapsulated the art trends of 2023. Here we saw a dialogue between the boundary-pushing performance art of Abramović and the evocative, narrative-rich paintings of Dorantes and her contemporaries. This synergy highlighted a crucial trend in contemporary art – the blurring of lines between different art forms and eras, and the creation of a space where diverse artistic expressions could coexist and converse.
#fluxexhibition #joanofarch #dreaminglondon #marcelaoliviadorantes #marinaabramovic #royalacademy #londongalleries #timpatrickartist #artemisiaGentileschi #bobthompson #thishouseismine #hammermuseum #hamptoncourt #joshuareynolds #georgiao'keeffe #hiroshisugimoto #watergategallery
The rediscovered painting, Susanna and the Elders, forms a significant addition to Artemisia’s extant body of work and sheds fresh light on her creative process and her time in London in the late 1630s, working alongside her father at the court of Charles I and Henrietta Maria.
"Bob Thompson: This House Is Mine" at the Hammer Museum
Hayward Gallery Director Ralph Rugoff gives you an introductory video tour of Hiroshi Sugimoto, the largest survey to date of the photographer’s work
MoMA Exhibition MoMA, Floor 3, 3 South The Edward Steichen Galleries "To see takes time," Georgia O'Keeffe
MOD Marcela Olivia Dorantes - Dreaming London
Tim Patrick Artist Living Room from Exhibition that MOD visited
Marina Abramović at the Royal Academy Performance artist
The continuum of Artistic Endeavor
As one traipses through the opulent corridors of art history, it becomes resoundingly clear that artistry is anything but solitary. It's a confluence of inspirations, drawing upon a tapestry woven with admiration, influence, and profound interconnectivity.
France's streets, bedecked with the hues of Impressionism, gifted us the genius of Monet and Degas. Their brushstrokes, although singular, drew deeply from the communal spirit of their epoch. The British Isles, in their contrasting serenity and turbulence, saw the rise of luminaries like David Hockney, whose vivid landscapes and portraits painted the multifaceted British experience. Alongside him was Francis Bacon, capturing the human form in its rawest, most visceral manifestations.
The expansive landscapes of the USA resonated with the indelible mark of Andy Warhol. His Pop Art, be it a celebration or critique of the consumerist ethos, reverberated with global tones, transcending mere American sensibilities.
The sunlit alleys of Italy whispered tales to Amedeo Modigliani, his portraits a seamless meld of Italian grace and broader European motifs. And as we trace this journey of interconnectedness, we are reminded of the solemn legacy left by the late Zada Habib. Her oeuvre, a testimony to her genius, resonates with depth and nuance, echoing the artistic maestros and architects who might have inspired her.
The web of artistic creation is vast and intricate. Each stroke by Hockney might well whisper tales of Impressionist France. Warhol's avant-garde sensibilities perhaps drew from European abstractions. Tracy Elms, with her contemporary vibrancy, might subtly channel the intensity of a Bacon or the depth of a Habib.
To stand before an artwork is to immerse oneself in a dialogue — a conversation that spans eras, cultures, and souls. Every canvas is a symphony, with notes from artists past and present, harmonising in timeless unity.
#monet #degas #zadhabib #tracyelms #francisbacon #hockney #amedeomdigliani #
To Create: I am an Artist I create - no labels
In an elegant dance of artistry that might remind one of the revered work of J.M.W. Turner, my creative process is predicated upon a thorough examination of my subject matter. However, it must be stated that, akin to the Romantic visionary William Blake, my finest inspiration often arrives in the hush of dreams. These fantastical revelations assail me with the sharp, sudden force of a lightning bolt, unveiling a panorama of insight and vision.
To better apprehend these celestial flashes, I engage in an exploration of their essence. Like Damien Hirst and his fascination with the perpetual tensions between life and death, I delve into the sacred geometry that binds our existence. I wade through the nebulous void of the subconscious, gleaning fragments of understanding as if they were glimmering nuggets of gold, and sketch them into reality.
Thus, I ready my paints, meticulously assembling and mixing my palette. My approach here is reminiscent of the venerable David Hockney, whose extraordinary use of color evokes profound emotional resonance. The analogue of preparing my tools is as critical as the act of creation itself—a meditative process that purifies my intent and steadies my hand.
As I surrender to the divine rhythm of creation, I find myself in a duet with the canvas, reminding one of the inimitable Lucian Freud. Hours evaporate as each stroke imbues life into my creation. Like Freud, I too begin with layers of underpainting, the undertones that set the stage for the intense and pure hues that are yet to follow.
This layered approach to painting, echoing the prodigious work of the Pre-Raphaelite Brotherhood, allows for a nuanced depth and complexity. It invites the subconscious to engage with the canvas, building a bridge between the viewer's rational cognition and a broader, transcendental understanding. This cyclical progression from subconscious to conscious, from ethereal visions to tangible artistry, is the crux of my art.
My intention, through this painstaking yet rewarding endeavor, is to provoke a shift in perception and imbue the viewer with a renewed sense of continuity—a harmonious amalgamation of the conscious and the subconscious, the physical and the ethereal. One might even dare to say it's an attempt to make the viewer privy to the celestial enlightenment that I, myself, experience in those enlightening dreams.
Indeed, my artwork attempts to encapsulate the experience of being a woman in a world that often lacks the understanding of our tribulations. It expresses, subtly yet powerfully, the emotional landscape inhabited by all women—struggles, hopes, triumphs, and defeats. Think, perhaps, of the introspective expressions of Gwen John or the resolute faces penned by Dame Laura Knight—each a testament to the resilience of the feminine spirit.
Yet within the harsh realities that often pervade pedestrian life, I find a profound beauty—much as Dame Barbara Hepworth found grace in the rigid forms of her sculptures. The relentless routines and tasks, the seemingly mundane, serve as a canvas upon which the vibrant colors of resilience, determination, and hope are painted. They imbue every stroke of my brush with a profound authenticity, resonating with the shared human experience.
So, you see, this dance between light and dark, between the euphoria of existence and the inevitability of cessation, exists not only on the canvas but within the very fabric of our lives. It's an immortal dance, a timeless symphony that transcends the barriers of the mundane, invoking a cathartic release that enriches the soul and celebrates the shared human spirit. Like the unique juxtapositions in a Rachel Whiteread piece, it seeks to portray that despite everything, the essence of life—its pulse, its beat—continues to reverberate with undying tenacity.
While circumstances dictated a certain isolation, constraining me to shy away from opportunities to experience the social norms of my peers, such as learning to play the piano or join the Girl Scouts. I found strength and solace in my unique journey. Just as L.S. Lowry found his voice in the depiction of the industrial landscapes that surrounded him, I found mine amidst the world I was steeped in. This peculiar loneliness, this sense of feeling 'mute and ugly,' imbued my art with a poignant realism, akin to the raw vulnerability often found in the works of Francis Bacon.
Like Bacon, my experiences formed a fundamental part of my creative process, a process that is both my refuge and my voice. Through my art, I navigate the labyrinth of my emotions and experiences, presenting them with a depth and a perspective that is uniquely mine, a journey that is both deeply personal and universal in its appeal.
#fluxexhibition #watergategallery #londongalleries #romegalleriaborghese #chelseagalleries #nycgalleries #lauraigallery #washingtonian #georgetowner #burlingtonmagazine #americanuniversityalumni #ualart #thefluxreview #marcelaolivadorantes #damianhirst #francisbacon #lucianfreud #gwenjohn
WILLIAM BLAKE
JMW TURNER
FRANCIS BACON
LS LOWRY
ROSETTI
FRANCIS BACON
RACHEL WHITEREAD
RACHEL WHITEREAD
DAME LAURA KNIGHT
GWEN JOHN
MOD
LUCIAN FREUD
Damian Hirst
Saints in Christianity - 2024
One of the featured works in the exhibition centers around the story of St. Margaret of Antioch, a prominent female saint recognized for her unwavering commitment to Christ despite the numerous obstacles she encountered along her journey. The artwork captures the moment when St. Margaret is said to have been visited by an arc filled with heavenly voices, providing her with guidance on how to remain faithful in the face of surrounding evil forces. This depiction serves as a testament to her strength and serves to inspire viewers to reflect on their own steadfastness in the face of adversity.
Another highlight of the exhibition is an artistic interpretation of Joan of Arc, a young French peasant girl born in 1412. Inspired by Rubens' portrait of the saint, this artwork celebrates Joan's historical significance while providing a platform for contemplation and inspiration. The composition masterfully captures the essence of Joan's character, inviting viewers to recognize the enduring relevance of her unwavering faith, courage, and resilience. The artwork pays homage to the historical depiction of the saint, infusing it with classical beauty and reverence. Through this interpretation, viewers are prompted to contemplate the transformative power of courage in the face of adversity, emphasizing the interconnectedness of all sentient beings and the universal need for bravery.
In essence, this art exhibition curated by Marcela Olivia Dorantes celebrates the impactful presence of patron saints in Christianity. It invites visitors to engage with the stories and legacies of figures such as St. Michael the Archangel, St. Margaret of Antioch, and Joan of Arc, prompting them to reflect on their own faith, courage, and resilience. Through the artistic lens employed in the interpretations, the exhibition encapsulates the timeless essence of these saints, inviting viewers to contemplate the significance of their unwavering convictions and the transformative power they embody.
It will take place in an abandoned Convent where St. Margaret was the Patron
BLUE 75 Ocean Exhibition
My latest paintings have submerged themselves into my experience of the ocean, my human perspective when it comes to our human effect on the ocean, and my love for animals. Ocean is the mother of us all, and we must open ourselves up to our planet’s oceanic water, its surfaces and its depths, to revere our ocean, our animal life, and our ecosystem.