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SUMMARY:Izabella Ortiz | Sea Spells
DESCRIPTION:Cavin-Morris Gallery is pleased to present the second one-person show of dramatic\, spiritually abstract works by Izabella Ortiz.   \nOrtiz’s work has been shown minimally in Europe under the vague genre of Art Singulier\, a title roughly equivalent to what some call Outsider Art in the United States.  In Europe Art Singulier originated from Jean Dubuffet’s category for artists whose work he deemed to have more sophistication and less isolation than the classic artists of Art Brut.  \nTwo common aspects of typical Singulier are horror vacuii (a filling in of every possible inch of surface) and often an almost geometric sense of symmetry.  A major point of differentiation for the self-taught Ortiz is her complete control of asymmetrical balance by merging the forward\, backward\, above and below in intricate and dense compositions based around her themes of water\, and the controlling of a sense of deep chaos in the natural world. \nIt is specious to call the work of a contemporary artist shamanic without the proper rigid and very specific training a true shaman receives within the traditions of their culture\, but there are indeed commonalities in some spiritual and artistic contexts.  In Ortiz’s case it was a major physical and emotional crisis\, life changing in scope\, that led her to bring the deeper aspects of Nature to her work.  Painting became a form of self-healing.  She created it for personal balance\, not for the canons of the art world. \nAlthough her work can be thematically landscapes\, they are not about vast space. Indeed\, she has swallowed the oceanic\, internalized the sea\, and kept visibility not to great inchoate depths but to the messy and tangled intensity of close proximity.  There are creatures\, plants\, and the almost psychotropic movement of line and atmosphere.  In fact\, it is the movement in her exquisitely colored scapes that holds our rapt attention.  She combines water\, blood\, rain\, and currents in her water drawings and\, like the Aboriginal songline paintings (she lived a long time in Australia)\, catches the language and intricate geological motion of the land itself. \nHere are her words: \nMy mother is Australian and my father French-Colombian and\, as a child I lived in France\, in Australia and also in Alaska.  My painting is impregnated by Inuit\, Aboriginal and Indian myths\, tales and legend. . . .  \nIt (painting) came to life in an unexpected way. One evening in 2009\, like a sleepwalker I grabbed a painting I had at home and painted over it. Since then I have been producing in a compulsive way. . . .  \nThis “trance painting” loomed up after a pulmonary illness and has become vital to me. I have become what I am. \nMost titles contain the word “dream” because for me\, our roots grow in our dreams. . . . \nMy dreams are my capacity of transcending everything I intercept\, absorb\, everything that impregnates me for me to better spill it all out when creating. All my paintings are “automatic” and therefore\, take life directly on the paper: forms and materials whisper to me what to do. \nThis is her second exhibition in the United States.  It is also only the second time her new series of larger drawings has been exhibited anywhere.  We believe she has transcended category.  Her work was one of the surprises and successes of the 2020 Outsider Art Fair.  We are privileged to reintroduce her art in this exhibition. \nFor additional information please contact info@cavinmorris.com or call us at 212-226-3768. \n\nImage:\nIzabella Ortiz\nWater Memories\, 2020\nMixed media on paper\n70.5 x 39.25 inches\n179.1 x 99.7 cm\nIzO 91
URL:https://artinamericaguide.com/event/izabella-ortiz-sea-spells/
LOCATION:Cavin-Morris Gallery\, 210 Eleventh Avenue\, Suite 201\, New York City\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Duende: Artists Translating Spirits
DESCRIPTION:Duende: Artists Translating Spirits \nMay 3 –  June 9\, 2018 \nCavin-Morris Gallery is pleased to present Duende: Artists Translating Spirits.  A duende is a spirit often associated with flamenco dancing that rises up through the feet of dancers.  It is also an embodiment of heightened creative and passionate receptivity and thus wonderfully apt for the artists in this exhibition\, each of who makes art while in a trance state surrendering the hand to an otherworldly entity.  Although some of the artists in Duende are mediums this is not the central premise of this exhibition.  We looked specifically for artists who felt that their artworks were either authored by or in collaboration with entities from other planes of existence.  These artists are able to translate the existence of these entities into works of art not in memory but as part of an immediate sharing of experience. \nIt is often claimed that Art Brut focuses only on the work of psychologically damaged artists\, but examination of its history\, both while founder Jean Dubuffet was alive and after his death\, shows that there were many artists working in a visionary or spiritualistic mode included in this seminal collection.   It was the Surrealists\, personified mainly by Andre Breton who most extensively championed the mediumistic works.  In fact\, a major disagreement between Breton and Dubuffet centered on Breton not wanting the work to lose its mediumistic identity by being consumed in\, and relabeled as ‘Art Brut’. \nThe artists in this exhibition mainly worked in the 20th century\, but some of the artists are still alive and working today\, both from non-Western cultures. M’onma was born in northern Japan\, and Noviadi Angkasapura was born in Irian Jaya.  M’onma surrenders to an entity that takes control of his hand for hours.  He draws in a state of a waking trance until the entity leaves his body.  Angkasapura\, who grew up in animistic surroundings\, was visited by a spirit who told him to make art to keep Balance and sound moral judgment in his life.  Every drawing he makes has the phrase ”KI RADEN SASTRO INGIL” which was said to him by the Spirit. \nThe earliest work in the exhibition is by František Jaroslav Pecka who made mediumistic drawings in the early 1920s in what is now the Czech Republic.  The country has been a haven for Spiritualists as far back as the 19th Century\, despite the political waves that have rolled over the country.  This is the first time his work has been exhibited since his work was shown in Paris during the National Spiritist Congress in 1927. \nWe will be showing rarely seen early drawings by Anna Zemánková\, who is joined by another Czech artist\, Cecilie Marková\, and an anonymous Czech artist who bears a strong visual kinship to Zemánková and Marková\, despite working much earlier during the dark times of World War II.  \nFrench artist Henriette Zéphir began drawing in 1941\, submitting to the influence of spiritual forces that commanded her to draw as they instructed her.  The intention of these drawings\, first admired by Jean Dubuffet in 1945\, were a complete mystery to Zéphir.  Towards the end of her life she came to the realization that they were a translation of beneficial energetic forces that needed to find release in this plane. \nAgatha Wojciechowsky came to America from Germany in 1923.  Quite suddenly\, in the 1950’s she began to paint and draw.  Like Zemánková and Zéphir\, her work appealed to Jean Dubuffet\, and other expatriated surrealists in the United States. She said\, in what has now become a familiar refrain\, that her work was the result of different entities that directed her hand.  She had nothing to do with it. \nIt is natural that much of the western aspect of spiritualist work came after the Civil War and then again between the two World Wars\, as people desperately tried to come to terms with the massive numbers of family members and friends among the fatalities.  The beginning of the 20th century was also a time where early studies of spiritualism and the paranormal were still tied to scientific investigation\, in hopes that science could quantify and thereby legitimize the experience.  \nHelen Wells and Norma Oliver also worked in New York in the early part of the 20th century as high society mediums and founders of the Jansen Group\, which summoned and drew upon spirits of the dead including Native Americans\, enslaved people\, aliens\, and ancient Greeks.  They both worked with named spirits to do very different types of drawings. \nPaulina Peavy (American\, 1901-1999) was a trained artist\, who attending a séance in 1932 where she met a UFO named Lacomo.  This force directed her brush\, and became her co-painter.  Peavy made masks that she wore while painting to facilitate Lacomo’s flow of energy to her.  Lacomo shared the secrets of the universe with Peavy\, including the belief that the future held an androgynous life for mankind\, and humans would evolve into invisible spirits or UFO’s.  The rest of her life was dedicated to the promotion of this worldview\, and cosmos was the only subject of her art. \nJohn Bunion (JB) Murray\, who never learned to read or write\, received and channeled the Holy Spirit when making his abstract yet specific drawings and by reading his ansemic writing through a bottle of sacred water from his well. He was able to interpret the struggle of the Holy Spirit to save lost souls.  We will be exhibiting his prayer-filled envelopes\, long scrolls on adding machine tape\, and other rarely seen art from the estate. \nThis exhibition gives viewers a new vantage point for perceiving the breadth and global reach of Art Brut.  It is a testament to the sheer human necessity of the field that sub-genres continue to develop 70 years after Jean Dubuffet first put the collection together. \nOther artists in the exhibition include Anthony Hopkins\, Coco Fronsac\, Vera\, and tantric drawings by anonymous makers. \nThanks to Andrew Edlin Gallery for the loan of Paulina Peavy\, and to The Center For Book Arts for the loan of display cases. \nFor further information please contact the gallery at 212-226-3768\, or email us at: info@cavinmorris.com.
URL:https://artinamericaguide.com/event/duende-artists-translating-spirits/
LOCATION:Cavin-Morris Gallery\, 210 Eleventh Avenue\, Suite 201\, New York City\, NY\, 10001\, United States
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