Art and Reality

Review of the exhibition, Entre Fusiones, by Celes Orozco, Cuarto Cresciente Galeria (https://www.facebook.com/CuartoCrecienteGaleria/). Guanajuato, Mexico: May 3-June 13, 2019.

Reviewed by Gary Gautier

The relationship between art and reality has percolated through the history of ideas since Plato (well, probably since the cave paintings of Lascaux, but I can’t vouch for anything before Plato). Some bright-eyed theorists identify four angles: (1) mimetic (art imitates reality), (2) affective (art may or may not mimic reality, but the value lies in how it affects its viewers), (3) expressive (art projects the subjective experience of the artist into objective form), and (4) objective (art builds value through its internal design and composition, irrespective of how it may or may not correspond to the minds of artist or audience or to physical reality).

Each of these angles is to some extent at play in Celes Orozco’s exhibition, Entre Fusiones, at Cuarto Cresciente Galeria. The collection strikes immediately, visually, at the question of art’s relationship to reality, but it does so through different styles. The first style I might call “the cosmic flux.” It is abstract, but not in the manner of Joan Miró’s abstract geometrical lines or Mark Rothko’s solid color zones. Miró and Rothko are working with the abstract building blocks of line and color, but Orozco’s works seem more concrete.

   

                 Untitled 1                                                                 Untitled 2

These paintings, although they do not depict anything in particular, project, more than Miró or Rothko, some concrete, almost totalizing view of reality as a swirling potentiality of form and color. This is the primal flux that undergirds the reality of discrete objects as we know it. The strokes, too, as Orozco variously applies paint to the canvas with finger or hand as well as brush, suggest something concrete and organic, but still in potential form. The only narrowing of potential that I see comes in some of the color choices, as in Untitled 2 the sunburnt coloring conjures up (for me at least) the Mexican roots of the artist, which we see in patches or hints as we move through the exhibition.

The Mexican roots appear more strongly in the second style. If the first style emphasized a primal cosmic flux, the second shades into representations of “primal culture.”

Chaos

This painting, Chaos, overflows with the fundamentals of nature, with a close-in view of quasi-archetypal figures rather than on the Gestalt or expansiveness of the landscape (as we might see, e.g., in a Romantic-era European landscape). This, the masterpiece of the exhibit in my view, is not about the space of nature and culture from which we came, but about the things that populate that space. And rather than the gradient of space and color, light and shade, that you might get in Renaissance verisimilitude, here the arrangement is relatively flat, with bold colors, each figure presented in its full integrity. The presentation seems fundamentally native American, although my vocabulary is insufficient to expand upon why.

Finally, Orozco throws a few pop culture images onto the canvas – the bottle, the car, the McDonald’s balloon, the casino. It is difficult to say whether this encroachment by the artifacts of modern culture is a corruption of or an extension of the primitive layout. The bottle in the foreground and car at the center seem harmless enough. The casino atop the primitive pyramid seems a little sinister, but Orozco does not highlight the sinister. This is not the hellish 3rd panel of Hieronymous Bosch’s Garden of Earthly Delights. Even the McDonald’s balloon is not accompanied by anything overtly negative. Perhaps Orozco just needed the pop culture items to show that the primitive space is not to be too idealized, not removed from time, is already flowing into the vicissitudes that come after.

Whether the second style, the “primal culture” style, encompasses the paintings below or spawns them as separate styles may be the viewer’s choice.

Protecting the infant is the clearest merging of the “cosmic flux” style with representational forms.

.                                                      Protecting the infant

Whereas Chaos had only a hint of the cosmic flux style in the brush strokes of the river, more than half the canvas here is covered in cosmic flux style. The represented images are fragmented, iconographic, not holistic scenarios as in Chaos. If there is a hybrid style in Orozco’s repertoire, this is its clearest expression.

El desierto, on the other hand, is holistic, but doesn’t strike the emotional register the same way as Chaos.

                                                             El desierto

Chaos gave a sense of temporal projection across eons of time, reaching back to some primeval culture in the archetypes of nature. El desierto has more the sense of a contemporary psychedelic experience of space, not unlike the sense of space experienced by your correspondent on some of his hippie-era LSD trips, with the sky thick and close, not thin and distant, with the cacti that seem to sparkle, the long smooth flowing strokes of the land, the stones themselves flowing to show hidden figures that had always been there waiting to be made manifest by the ready viewer. Here, one could almost say it is the subjective effusion into the space and its objects that defines the experience. This to me is a style all its own – I’ll call it the “spatial flux” (or “psychedelic spaces”).

Finally, El niño y la serpiente expands the pop culture idea from the periphery of Chaos, gives it center stage, and takes it in a new direction.

                                                    El niño y la serpiente

This is the closest Orozco comes to the traditional surrealism of Salvador Dalí or to pop art collage style, depending on how you look at it. The scene is holistic and quite modern, and we suspect full of political and social symbols, unlike Chaos, in which any symbols with overt political weight were kept to the margins. In fact, there are only the vaguest traces of the cosmic flux or the primal culture here, although the relative flatness of the brush strokes and representation aligns it more with the primal culture style, and also gives it a mural-like effect that keeps Orozco’s eclectic work at least tenuously grounded in the cultural coordinates of Mexican art.

Detail from El niño y la serpiente

It is not for me but for you to determine how much of this response is my own  idiosyncrasy and how much intrinsic to the compositional markings on the canvas. Either way, if it provides food for thought about this fine artist and this fine show, that will be enough done.

x x x

Bonus picture (Soñando): a holistic scenario in the true “primal culture” style of Chaos, complete with archetypal Mesoamerican fauna and flora, the close view, the pressed bold color zones, and the sense (enhanced by the title idea, “Dreaming”) that we are moving through the field of what Carl Jung calls “the primitive roots of consciousness.”

Soñando

x x x

  year-bfly-cover              BookCoverImage     

 (Click images for links)

12 thoughts on “Art and Reality

  1. I enjoyed your exploration of surrealism’s artistic expression. Thank you.
    I believe that the work of artists, like Celes Orozco, have the power to take us beyond our illusion of ourselves as separate from the natural world in which we live and exist, and the ways in which human creations have corrupted that reality. We need only to stop, look, and reflect.

    Liked by 3 people

    • btw, Rosaliene, I like your slogan, “Stop, look, and reflect.” The more I think about it, the more synonymous it becomes with Timothy Leary’s adage, “Drop out, turn on, tune in,” an adage that I championed for some years, then discarded as irresponsible for some years, then (recently) came to champion again with renewed vigor 🙂

      Like

  2. The bright eyed theorists forgot (5) art as an investment and/or scam.
    The Orozco works are wonderful, never heard of him–thanks. Related to José Clemente? I like the chaos of the whole show–its gestaltiness–a painter as mixed “media” arts fighter: abstract expressionist, neue sachlichkeiter, or anonymous limner as needed, a journalist too. A worthy goal.
    Will read more of your posts. Your novel is on my list.
    Thanks for the like.
    — lapsed hippie near Chicago.

    Liked by 2 people

    • Hahaha. Thanks, Howard, for adding that 5th and important angle to the list. I hope you make it to my novel. We need to get you unlapsed 🙂 I didn’t ask Celes Orozco about Jose Clemente, but I hope to see him as soon as I head back to central Mexico.

      Like

  3. Very interesting review and post. I like the paintings, especially the one you pointed out. The beauty of the animals, the lines. That angle analysis is helpful, but folds back on itself. Joseph Campbell said the role of art and of the artist has always been to connect us with the divine.

    Liked by 2 people

  4. Pingback: The sublime in art and self-actualization | shakemyheadhollow

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.