I miss writing art-related posts and have decided to talk again about surrealist paintings of Spanish/Mexican artist Remedios Varo (1908 – 1963) (see my 2019 post where I already talked about her paintings Hacia la Torre, El Juglar and Papilla Estelar).
Revelation or The Clock-Maker 
In this painting, the Clock-Maker is hard at work in his studio surrounded by grandfather-clocks all showing the same time when Revelation (a whirling disk) literally floats through his window, catching him unawares. Here, Remedios Varo wanted to capture the moment of inspiration/divine revelation or “illumination” literarily presenting itself to a man, changing his understanding of how time works. Janet Kaplan in her book Remedios Varo: Unexpected Journeys explains that this is the moment when the Clock-Maker, who represents our “ordinary”, Newtonian time, realises with a shock that time is, in fact, relative, as Albert Einstein stated. This means it is not absolute or universal as was previously thought, but depends entirely on each entity or person’s position in the universe and in relation to everything else. This Revelation causes Clock-Maker’s tools and mechanical parts of his clocks to fall on the floor. Time can no longer be “trapped” or “fixed” within a clock and the Clock-Maker’s art and work will never be the same.
Continue reading “Paintings of Remedios Varo II”
Remedios Varo (1908 – 1963) was a Spanish/Mexican surrealist artist best known for her enigmatic, mystical and “alchemical” paintings, that “[blended] surrealist techniques and images, Freudian and Jungian psychology, science, magic, and the occult” [Vosburg N. (2005) Strange Yet “Familiar”: Cats and Birds in Remedios Varo’s Artistic Universe. In: Figuring Animals, 2016]. Below, I present and briefly discuss her three paintings.
I. Hacia la Torre (Towards the Tower) (1960)
Towards the Tower depicts a number of identical girls dressed in identical clothing that are whisked away by a man and a woman on bicycles. They are moving away from houses that resemble a beehive. Given Varo’s catholic upbringing, the wide interpretation of the painting is that the woman leading the girls on the bicycle is a nun and the girls are pupils in a convent. The girls share similar features as the artist wanted to underline the rigid conformity of the place. The beehive-shaped houses also underline the idea that the girls work towards one common goal (like bees) and their individuality is supressed or ignored. The “magic” numbers are also present here – we see twelve houses (for example, there are also twelve months), and seven girls (there are also seven days in a week). This is the first painting in the series of three paintings that depict the same women who first flee the houses (the convent) to get to the Tower, and then escape. The third painting (The Escape) shows a girl on a journey with her love. Continue reading “Paintings of Remedios Varo I”