Cati’s workshop

I was fortunate recently to visit the home studio of artist Cati Gris, whose work was recently featured at the Diego Rivera Museum in Guanajuato and who has a couple of shows coming up in Mexico City.

What struck me most about her work was the textures – the fabric and textile alternatives to canvas, the homemade pigments she creates out of organic sources, and the thickness and densities of the materials that get layered into each work. The subjects are abstract and yet they are mappings of something the viewer keeps reaching for – cityscapes maybe, or schematics and fragments of some unconscious landscape – sometimes soothing, as in this one, in which I could lose myself into any square inch of the piece:

and sometimes more disturbing, as in this one:

Some of them strike me as dark and childlike at the same time:

        

And some are, well, you decide:

 

In any event, they resonate with many, as Cati has been landing in some great venues lately. ¡Felicidades, chica!

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Art, knowledge, and thinking like a mushroom

Venue:          Yes We Cannibal Art Space, 1600 Government St, Baton Rouge, LA
Exhibition:    Eat the Anthropocene by Cesar and Lois, mycelia and friend entities
June 5 – July 11, 2021

In their Eat the Anthropocene art works, Cesar and Lois put together a very special kind of palimpsest. Special structurally, because, unlike the common palimpsest, the layers are not superimposed but are integrated and organic. They grow out of each other. Special in terms of content because these are not two layers of conventional art, but layers composed of books and mushrooms, respectively – book knowledge and organic knowledge, with the mushrooms reclaiming the territory of the book for their own organic purposes.

Where is the lasting knowledge? In the fungus or in the book?

   

And what remembrance have we, what new engagement, when all is said and done?

  

Here’s a 4-minute video Cesar and Lois made to tune the imagination to the images in the gallery space.

Pick up the perqs of micropatronage (1, 10, 20, 50, 100 levels) for Yes We Cannibal as they build an open home for experiments in art, music, food, and performance. Set in an inner city Baton Rouge neighborhood, the art space is up and running, and Mat and Liz are in the planning stages of a free neighborhood food forest with flowers, fruits, vegetables and herbs. Give them a little support!

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Archetypes in Space

Exhibition: Anima Vestra
Artist: Ann London-Zvejnieks
St. Tammany Art Assoc. Art House
Covington, Louisiana, USA
February 13 – March 27, 2021

Below are a few images from a fantastic exhibition of works by London-Zvejnieks. The images struck me as powerful archetypes. The charcoal medium, sans color, really allows a focus on character and on the lines and strokes. Most engaging about the lines and strokes, I thought, is how they place the figures in space. Also, to me they gave the effect of ancient (and periodically revived) rubbing art. To be honest, someone advised against that comparison because it might sound like I was suggesting cheap duplicates of something else. It is true that rubbing art suggests an image taken from something else – e.g., from an original relief image of brass or wood or stone – but I don’t mean to say the works here seem copied from other originals but rather that London-Zvejnieks uses this effect to create a kind of internal palimpsest that adds power to the archetypes. What are archetypes after all? Images in the collective unconscious (or at the “primitive roots of consciousness” as Carl Jung says), buried under layers and layers of history on the cultural level and buried under layers and layers of conscious memories on the personal level. Buried, primeval, perhaps forgotten on the conscious level, but still exerting an enormous influence on the way we think and feel and see the world. In that sense, I think the presentation of the images as something emerging from behind the surface of these larger charcoal strokes — or, with the larger exhibition in mind, emerging from the primeval African landscapes and fauna that London-Zvejnieks draws from — is perfect.

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