The Magic of the Cities.

Zen promotes the rediscovery of the obvious, which is so often lost in its familiarity and simplicity. It sees the miraculous in the common and magic in our everyday surroundings. When we are not rushed, and our minds are unclouded by conceptualizations, a veil will sometimes drop, introducing the viewer to a world unseen since childhood. ~ John Greer

Thursday, August 7, 2008

Leonora Carrington IV


Detail:


Horno de Simon Magus / Simon Magus Oven. Bronze 2007. From her exhibition on Paseo de la Reforma Ave.

Gracias por su visita / Thanks for visiting.


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Wednesday, August 6, 2008

Leonora Carrington III


"Entonces vimos a la hija del Minotauro" / "And Then, We Saw The Daughter of The Minotaur" Oleo / Oil 1953 from her exhibition on Paseo de la Reforma Ave. (Main Street)
In Greek mythology, the Minotaur (Greek: Μῑνώταυρος, Mīnṓtauros) was a creature that was part man and part bull. It dwelt at the center of the Labyrinth, which was an elaborate maze-like construction built for King Minos of Crete and designed by the architect Daedalus and his son Icarus who were ordered to build it to hold the Minotaur. The historical site of Knossos is usually identified as the site of the labyrinth. The Minotaur was eventually killed by Theseus.
"Minotaur" is Greek for "Bull of Minos." The bull was known in Crete as Asterion, a name shared with Minos's foster father.

Gracias por su visita / Thanks for visiting.


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Tuesday, August 5, 2008

Leonora Carrington II


Back:


La Madre de los Lobos / The Mother of The Wolves. Bronze 2007, from her exhibition on Paseo de la Reforma Ave.

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Gracias por su visita / Thanks for visiting.

Sunday, August 3, 2008

Leonora Carrington I


Details:




From her exhibition on Paseo de la Reforma Ave:
Mariposa Mantarraya / Butterfly Manta ray. Bronze 2007 by Leonora Carrington. One of Britain's finest - and neglected – surrealists.
Her importance, lies partly in that she - along with artists such as Leonor Fini and Remedios Varo - opened up a new, and more female, strand of surrealism: in Mexico, Leonora and Varo dabbled in alchemy and the occult, and the work of both was rooted for a time in the magical and domestic elements of women's lives. "One of the extraordinary aspects of Leonora's work is how she draws on so many different inspirations, from the Celtic legends she learned from her nanny, through the constraints of her upper-class upbringing, to the surrealism of Paris in the 1930s - and then to the magic of Mexico," "Her work is evocative of so many things, and it's enormously complex: she hasn't had a massive output because her technique is so meticulous and the work so detailed. She certainly wasn't a Picasso who could churn out several pictures a day; her work would take many months, even years."


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Gracias por su visita / Thanks for visiting.