2023-09-10 18:38:38
André Breton signed the first Manifesto of Surrealism in 1924 to find a way out of the realistic observation of facts and the rigid schemes of reason. The proposal was to search for meanings beyond conscious knowledge, to delve into the depths of the self, to take advantage of Sigmund Freud’s great discovery: the unconscious. Delve into dreams, more than in waking life, for creation and bring distant realities closer, in a precise way, bringing together emotion with images. Giving art a new possibility of existence, since, we read, “surrealism, as I conceive it, proclaims our absolute nonconformity enough so that the real world can be cited in the process as a defense witness.”
Through this precept, Breton decrees the eclipse of taste, understands it as a great stain, and makes a historical reading in which the marvelous thing is not the same in all times. Because, according to his definition it is: “a kind of general revelation of which only some details reach us.” It will be the dangerous landscapes that occultists call, the winged lions and the soluble fish, among some avant-garde images that cause the author of Nadja a smile and childish fear, at the same time. In any case, this retrospective reading of the taste and the wonderful that is in the Manifesto is the key, also, to the appearance of a surrealist vision of art (and the world) in later stages.
The ancient Greek word translated as revelation is apokálypsis, which means “to reveal, to remove the veil,” and it was from the translation of the last book of the New Testament written by Saint John on the island of Patmos that it was synonymous with the end of times. . We are left with the first meaning and surrealism, then, is a revelation in the original sense of the term that we find it in the religious and mystical context to refer to access to a hidden truth, free of tragedy, full, substantial and illuminating.
Cynthia Cohen is thorough, intelligent and intuitive at the same time. Her paintings establish a very deep relationship with the use of color. Not only because she uses it and combines it but because of the expression she achieves from what might be defined as “a controlled excess.” In the case of this artist and her paintings, an analogy can be made with the rhetorical figure of hyperbole, which consists of an intentional exaggeration with the aim of capturing in the interlocutor an idea or an image that is difficult to forget. With the rigorous mediations that the discipline demands, whoever sees Cohen’s works will not be able to forget those enormous figures as results of the combination of a childhood desire with a religious and sensory experience, crossed by the history of art, seasoned with a powerful imagination. pop, touches of irony, humor and sensuality.
In Revelations, his recent work that he exhibits in the gallery on Pagano Street (a joke of fate), he constructs strange images that were, once, familiar. He operates by size and sharpness of his strokes on the background of landscapes and backdrops where he embeds precious stones in colors and powers that float at different moments of mountain days. Everything solid fades into the air of his paintings, as if he took away their weight and made them fly.
The fauna, flora and minerals of surrealism are unspeakable and the artist is a kind of medium between one world and another. She carries and brings environments and panoramas; She invents chance encounters between a tongue, a dessert cherry, and a blue gem. She brings out the invisible ray of surrealism to fight once morest vulgarity, triviality, vulgarity. She predicts, as if she were a pop fortune teller, that she will be able to triumph once morest all that with her army of tongues, her squad of hands and her cakes and sweets. She promotes with her colors and reveals that expressive sentence of the avant-garde: “this summer the roses are blue; The wood is glass, the earth wrapped in its greenery impresses me as little as a ghost. Living and stopping living are imaginary solutions. Existance is somewhere else.”
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