‘Forge body and mind’ by Karima GALVÁN

IMG_5536For over a week, she was cutting, glueing, crushing, crumbling and unfolding shiny aluminium. “How is it going?”, I would ask her every morning, admiring reflections in the murals on the wall of the gallery, and she would say with a contagious smile, “getting there!”

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The artist Karima Heredia (left) 

And did she ever! With her mixed media installation “Forge Mind and Body” Karima Heredia Galván connects the dots in life, bringing together three relational series: suppressed emotion, body dysmorphia and internal healing.

Karima Heredia Galván, you contribute the vibrancy of Mexico to the Victoria art community. With a scholarship-funding 2017 Diploma of Fine Arts from the Vancouver Island School of Art, you have continued to explore the many facets of the human body. What is your current exhibition “Forge Mind and Body” about?

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Mural reflections 

Karima Heredia Galván: “”Using mixed media, I examine the physical, emotional, energetic and spiritual components of our body. I like to connect the dots in life, how things interact and are connected. We each reflect one another. Forge Mind and Body examines this reflection and its impact on healing.”

You mention healing – was your project inspired by a particular recent event?

Karima Heredia Galván: “A few months ago, I was starting loosing the sight in one eye. The experience with brain surgery has inspired this exhibition. My project is based on three different approaches to heal body and mind. Firstly, my interest in working with the unconscious became a quest to liberate my primitiveness, my repressed emotions and darkest stories. Secondly, I was interested in community work, and how we are all animals that belong to tribes. Finalising with mandalas helped with meditations for my physical and internal recovery.

You say: ‘I like connecting the dots’ – what do you mean by that?

Karima: For me connecting the dots means the connection between body and mind; the link between rational and irrational;  the connection of my healing process with my creativity; the link between nature and humans; and the connection of past events with the present.

You have recently been dealing with serious health issues. As some of your oil paintings show monsters, do they symbolise your greatest fears?

Karima: Yes! As I mentioned, I am interested in the unconscious, and using art to access and express the primitiveness of my persona, so my paintings were purposely done with emotional charged sessions, where I would cry, laugh, get angry sad and scared while applying pigment to the paper.

How do you deal with worries?

Karima: With therapy: by expressing and accepting the emotion of the moment; with art: searching for creative ways to channel emotions; with meditation: by emptying my mind and focusing on the transcendental space that exists within us; and doing exercise: sweating out the excess of stress and energy.

IMG_5541What does art mean to you?

Karima: Art is the way each individual portrays their version of life in that particular time and space. In my case, art is a way to channel emotions, research ideas and concepts, art means actions that connect me with other people, a profession that generates an income; a way to learn from my ancestors; a documentation of my life, and art explores life’s meaning.

You work with different creative techniques. What made you choose shiny aluminium?

Karima: I wanted to paint differently. Aluminum process’ is new and exciting to me. Using this material is very tactile, is like collaging with one color tone, that may vary when creating different textures. When cutting, gluing, crushing, crumbling and unfolding aluminum, the chances of breaking it are good. However, the metallic- sharp-burning- wind sounds it produces when manipulating makes the effort worth it. I enjoy aluminum a lot. The more I use it, I found its possibilities endless.

You have produced wonderful mandalas that complement each other in a playful and joyful way. What is the story behind them?

Karima: Painting mandalas became the daily activity that would bring me joy when I left the hospital. As I would gain strength, I would spend as much time doing them in nature. I started to feel stronger and found that dedicating them to other people was very satisfying and felt good. So each one of the mandalas is done in a state of peace and compassion with the intention of sending love to others.

Who introduced you to the Jungian concept of Shadow and what does it mean to you?

Karima: Dr. Carlos de Leon, my Body & Mind Therapy Diploma teacher. And to me, the Shadow is a part of ourselves we repressed as we grow up and society told us certain actions and behaviours were unacceptable. So we block them in our ‘shadow’ which is held in our bodies and the reptilian brain. There is great potential in the Shadow, not all is necessary negative, for example in an insecure person the Shadow contains their security and self-esteem power.

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You have arranged several metallic surfaces in a way that reminds the viewer of star alignments. Are you referring to a specific one?

Karima: I create my own internal constellations. Organic Light installation was invented for the walls of XChanges Gallery in Victoria, B.C.

Where are you the happiest?

Karima: When I am in nature.

What is your greatest achievement?

Karima: Moving on my own to Canada.

I had the pleasure of meeting you mother Claudia during the set-up of your art show, and meeting your Dad who remained in Mexico City, but was able to follow your artist reception via Skype. What have your parents taught you most?

Karima: That there is nothing permanent, we are always changing.

What do you need right now the most?

Karima: An effective treatment to treat my acromegaly.

Karim, thank you very much for this interview.

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More information about the artist:

Photographs by Daniela Herold (Copyright 2017)

 

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Artists as willing participants in a force of nature

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My artistic highlight last weekend was the discovery of ‘Forestrial Brain’, a collaborative installation-painting by Canadian artists Matt Shane of Pender Island and Jim Holyoak of Montreal at the Open Space Gallery in Victoria B.C. The artists wrapped a room 40 metres long and almost four metres high with rolls of Italian drawing paper, laying in the graphic elements with ink lines followed by tonal washes to create a stunning tapestry of images and memories of their hike along the West Coast Trail on Vancouver Island.

In a world of many choices, offerings and oeuvres one does not often stand in awe in front of a piece of art. When compelling art finds you, it not only captures your attention, it touches your soul. And I can truly say that ‘Forestrial Brain’ has done that to me.

This time, I will let my pictures talk, while encouraging you to read the whole story HERE (Times Colonist, Aug 13, 2017)

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Learning from ‘the man and the beast’: amazing Picasso exhibition at the Winnipeg Art Gallery

Conversation with Picasso

“Go and do the things you can’t. That is how you get to do them.”

Things I have learned from Pablo Picasso:

– keep an open and curious mind – it will inform your creativity
– be open to change
– keep exploring and learning, don’t get stuck in your ways
– be free in your expression, don’t censure yourself
– be succinct and clear
– reduce to the max

Conversation with PICASSO

“I begin with an idea and then it becomes something else. ”

Conversation with PICASSO

“Art is the elimination of the unnecessary.”

Conversation with PICASSO

“Learn the rules like a pro, so you can break them like an artist.”

“Pablo Picasso (1881-1973) remains one of the most celebrated artists of all time. Contemporary art critic Robert Hughes wrote: “No painter or sculptor, not even Michelangelo, [was] as famous as this in his own lifetime.” Picasso was a champion of abstract art, which has come to define the avant-garde in the 20th century.

A Spanish-born artist who spent his adult life in France, Picasso’s artistic production spans over six decades, making him one of the most prolific artists of the modern era. His celebrated Blue and Rose Periods (1901-1906) marked his first decade in Paris. These early canvases are known for their deep, cool palette, often featuring people from Picasso’s circle of friends, while the Rose Period brought warmer, brighter hues of orange and pink, with figures from the theatre, ballet, and circus.

Cubism in its Analytic and Synthetic phases (1909-1919) developed when Picasso joined forces with French artist Georges Braque, and the two began experimenting with the composition of the object and picture plane. As they dismantled and re-assembled forms into various states, often with multiple perspectives and angles, Cubism was born.

While embracing elements of Classicism and Surrealism in both artistic and literary circles into the mid decades of the last century, Picasso never stopped exploring new themes and techniques in his art. His total artistic output is estimated in the thousands, including paintings, drawings, prints, sculptures, and ceramics. He married twice and had four children by three women.” (Source: WAG)

For more information about the amazing exhibition at the Winnipeg Art Gallery (WAG) – ‘Pablo Picasso, man and beast’ (May 13 until Aug 13, 2017), click here.

Seen and liked: Blue Whale exhibition and Henry Moore Sculpture Centre

 

 

Art Gallery of Ontario (AGO), Toronto

The Art Gallery of Ontario is known for its extraordinary collection of Henry Moore works. The Henry Moore Sculpture Centre opened in 1974 to house Moore’s original gift to the AGO, now totalling more than 900 sculptures and works on paper.

The collection of the AGO includes more than 80,000 works spanning the first century to the present day. The gallery has 45,000 square metres of physical space, making it one of the largest galleries in North America.

Click here to read more about the Henry Moore Sculpture Centre.

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Royal Ontario Museum (ROM), Toronto

In 2014, nine rare blue whales became trapped in ice off the coast of Newfoundland and died. Their loss represents about three percent of the Northwest Atlantic’s blue whale population. Blue whales usually sink when they die, but in an unusual occurrence two of the blue whales washed ashore in Trout River and Rocky Harbour, Newfoundland and Labrador, offering an unprecedented opportunity for research.

Working with the Department of Fisheries and Oceans, Research Casting International and the local communities, scientists of the Royal Ontario Museum de-fleshed and recovered the bones of this endangered species, transporting them to Ontario. After a two-year process where the bones were buried in manure, and de-greased, one of these awe-inspiring animals is now displayed at the ROM.

Click here to read more about the exquisite Blue Whale exhibition.

Urgent environmental issues converted into dramatic form by Thaddeus Holownia

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I am not prepared for what I am going to see when I enter the Corkin Gallery in Toronto. At first glance, I only see photographs of little strange birds facing downwards as if falling out of the sky. Some look as if they are asleep, but others are charred beyond recognition. I am starting to understand that I am looking at something very tragic, captured as a reminder or warning by photographer Thaddeus Holownia. But what exactly is it?

The Canaport bird kill exhibition shows many lingering images. ‘A fast shutter for slow violence’, journalist Geordie Miller called the art of Canadian photographer Thaddeus Holownia, who took pictures of some 200 creatures killed by human error. “Drawn to a deadly light on a foggy night, songbirds begin to fall from the sky. By evening’s end, more than 7,500 are rendered flightless, lifeless. Twenty-six species of songbirds felled by one flame, a flare from the natural gas burn-off at the Canaport Liquefied natural Gas terminal in Saint John, New Brunswick, September 13th, 2013.”

The disastrous event is represented on a 17-foot-high scroll – called Icarus, Falling of Birds (2016) – and several individual photographs. The viewer cannot help but be affected by their immediacy and immensity.  I left the gallery with a sense of sadness and discomfort, but also a genuine interest in the work of Thaddeus Holownia, who manages to artistically capture dramatic urgent issues in a very unique way.

Click here for the whole story and article by Geordie Miller (Canadian Art, Feb 2017).

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“The work of Thaddeus Holownia deals with how how humanity changes landscape,
how the forces of nature mould human structures.

His work calls attention to various ecological and political issues;
and his art practice conveys these precarious relationships.”

(Corkin Gallery, Toronto)

 

Further information:
canadianart.ca/reviews/thaddeus-holownia/
Corkin Gallery, Toronto

Morley Myers – Sculpting the shape of the human condition

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Morley Myers and ‘Blink of an Eye’

An interview with the B.C. artist by Daniela Herold

Morley Myers, as a self-taught sculptor, you have been working with stone since 1991. One of the most common purposes of sculpture in history was some form of association with religion, or an expression of politics. Why do you choose to create sculptures?

Morley Myers: I started sculpting as an unconscious attempt to explore my self. I hate to call it ‘art therapy’, but it does have that quality at times. What I do would be a combination of religion, and possibly gender politics as well as the broader form of community or national politics.

In your mid twenties, you were enrolled in the Humanities program working towards a degree in social studies.

Morley Myers: We all had to take classes in Ethics, Political Science, Sociology etc, and I chose to also do a class on Religion – is there a God or a proof of divine existence, that sort of thing. It all fed me well, giving me a lot of grist for what I have come to do later in life as an artist.

Over the years I have done bodies of work investigating my relationship with God or a spirit world. Another body was investigating the relationship of spirit and sexual identity, or the lack of. My ideas of what it means to be a man within the constraints of our culture, or my thoughts on this push to have our own children and what it might mean to be a woman or a man desiring to have children.

Human experiences as the basis of your work?

Morley Myers: Indeed. These explorations have helped me to get an understanding of some of the cultures that influenced me, for instance First Nations art from all around the world.

Do you find that the process of creating can be an end in itself?

Morley Myers: Absolutely. There is a joy that is difficult to explain, that you experience when you are in the groove. Once you have experienced this ‘bliss’, you tend to chase it. It is possibly one of the closest things to a spiritual experience I know. In a way, it has become an obsession for me – with the next piece being the cure.

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Male Torso as Armour

When I had the opportunity to visit your studio, I had the impression that your work evolves from a direct encounter with the material itself. You told me that you often start with the fault line or some other perceived defect when creating a sculpture from a raw block of stone. Why?

Morley Myers: Yes, it is a questionable approach to engage the faults and then move with the dialogue from there. This approach is something I tend to do when I am stuck, when the flow has stopped or when I am forcing my will and it all grinds to a halt. At times I have taken a piece of stone and saw large cuts in it creating a challenge that helps move beyond the impasse. Similarly our relationships with others often are deepened when we experience the imperfections of ourselves or others, creating new directions and understanding.

Do you prefer subtractive carving techniques – when removing material from an existing block of stone or wood – or rather modelling techniques to shape or build up your art from the material of your choice?

Morley Myers: When I started sculpting, it was to some extent a reaction to what I was doing as a builder. I had been working for years as a carpenter and found little to no outlet for my own expression as I was building other people’s dreams. I also wanted to get away from the noise of the power tools that I was using all day long, so I started working with hand tools on soft stone, moving slowly and quietly towards my own inner vision.

I worked subtractively for sometime, then slowly introducing power tools as i began to see the images quicker and wanted to speed up the process – ironic, isn’t it? It took me about 10 years before I was comfortable enough to move onto modeling or additive work. Starting with foam and plaster, then moving into steel assembly work.

Does additive work feel different to you?

Morley Myers: There is a wonderful freedom with additive work. You can continue to work and rework the image, adding and or subtracting at will. This is very different to stone work where you can also rework a piece, but it will get smaller and smaller until you end up with a pile of dust.

Both techniques work for me at this point and I find myself comfortably moving between them.

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Linear Thinking

For a sculptor, the classic materials with outstanding durability are usually metal, especially bronze, stone and pottery. What ways and materials do you seek to make art?

Morley Myers: I work in stone, foam, plaster, wood, steel and bronze. And as I mature, I see the possibilities of other materials or dimensions, having done a body of second work playing with colour and texture a few years ago. As an artist who is interested in exploring ideas you are not limited. We can go back to the likes of Picasso who did it all. He helped to set us free.

It has been said that ‘your work is meticulously composed, but open’. How would you describe your style?

Morley Myers: Interesting – I find this description both flattering and mildly confusing. I personally would describe my style as direct and strong, almost a 3D form of drawing.

What I do is definitely meticulous as I come from a line of perfectionists. So when we set ourselves to a task, we look closely at the details. I have a difficult time with ‘wishy-washy art’ – by that I mean art that doesn’t say anything or is too soft and round. I like sharp lines and clean intersecting planes.

As far as the statement goes that my work is trying to project – I like that to be clear, however this is where the “open” part might come into play. Since my statements tend to be about our human experience, each viewer will respond to it with mild to massive shades of difference.

When I travelled through the Netherlands last year, I visited the sculpture garden of the Kroeller-Mueller Museum in Otterlo, which opened in 1961, and has since become one of the most renowned in the world. Situated on carefully chosen spots on 25 hectares of woodland, sculptures ranging from work by Rodin to that of contemporary sculptors can be enjoyed by visitors. Where in North-America, do you think, come visual art, nature, architecture and garden design together in perfect harmony?

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Red Face

Morley Myers: I can’t come up with one place that is the ultimate, rather many possibilities. I am a country rat by nature and have never been overly comfortable in large cities, so my preference would be something in nature, preferably something here on the west coast.

I have seen wonderful sculpture ‘gardens’ in city landscapes as well in the country, above ground and below water. I do not think it has to be limited to one place or type of environment, be that urban or rural. But there needs to be an openness to the experience, to both the art and place.

Your career is long and eventful – what influenced your evolution as a sculptor?

Morley Myers: Living within a community of artists here on Salt Spring Island in British Columbia, has had a large impact on what I do and who I have become as an artist.

– Firstly, when the mystery of being an artist was dissolved, closing the gap between artist and mortal.

– The opportunity to see things differently and to start engaging within the creative process with endless encouragement. From here the art world started to open to me and fearlessly I stumbled into it (and for the most part continue to).

– Meeting new artists who point me in different directions, giving me new views of the world and other voices to investigate.

Within this ‘one-foot-in-front-of-the-other-approach’ there have been satori moments, awakening moments. Like the ‘Aha-effect’ when something becomes clear. For instance when a friend invited me to watch a movie showing Picasso in motion and I was watching Picasso’s creative process flowing through many possibilities until there was this sense of completion. This is the moment of freedom I spoke of earlier.

“Our relationships with others are often deepened when we experience the imperfections of ourselves or others, creating new directions and understanding.” Morley Myers

Who of the following artists has inspired you and why? Barbara Hepworth, Picasso, Henry Moore, Jean Arp, Marta Pan, Constantin Brâncuși or Henri Gaudier-Brzeska.

Morley Myers: Of these artists, my primary influences are Barbara Hepworth, Henry Moore, Picasso and Constantine Brancusi.

It is hard for me to separate Hepworth and Moore as their work was very similar on many aspects, eg their explorations of space or void, or the same sense of flow and statement. Their work gave me an understanding of negative space or void.

Picasso demonstrates the freedom to explore dimensions and materials, the easy flow from 2D to 3D and back again, often within the same piece of work.

Brancusi is the start of the language all the moderns base their work on. His break from Rodin and access to the influences that were coming out of Africa at that time were the start of the language that my work is based on.

How do you see and understand public space and the role of art in public space?

Morley Myers: I think that public spaces can do many things. They can open our eyes to different ways of seeing the world and our place within it. Don’t they represent a chance to explore ourselves and others through many forms of art? As they provide a space for artists to realize their visions, they give space to their voices. Public spaces also create an opportunity for us to experience beauty for its own sake or give a visual voice to the injustices that surround us.

These parks can also reintroduce us to the natural world that we are apart of or re-frame our urban environments so that they are no longer just a place of survival or opportunities to merchandise. We can regain a sense of who we are as a species in relation to our environment. They can create an opportunity for profound change or simply function as a great place for family picnicking.

How do you deal with issues surrounding your art involving interior and exterior, solid and void, time and space, weight and weightlessness?

Morley Myers: I don’t give much conscious thought to these issues, I rather feel or intuit. It is similar to knowing when you are finished with a piece – there is a sense of completion, a feeling similar to a satori moment. A recognition from within.

What are you currently working on?

Morley Myers: At the moment I am looking at the next phase of my career as I am soon to be 60 years old and looking at who I am or becoming.

I am experiencing big life changes. My father, 90, is in the throws of Alzheimer’s and will soon be gone. This is a big moment in our lives, the loss of a parent, which forces deep reflection. It is in a way bringing me closer to my family, giving me a sense of continuity as I experience or visualize my father throughout the time frame that I have memories of him. I have been very unsettled by this experience as this last part is bringing my own demise well within view. I have a keen sense of how much time I have left, wondering what I will do with it.

I also have a much better understanding of my connection to all things at this point in my life. A wonderful place to be as it provides an endless realm of possibilities to create from.

Daniela Herold:  Morley Myers, thank you very much for sharing your thoughts with my readers.

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ABOUT:

Morley Myers was born in Saskatoon, Saskatchewan in 1956, and grew up primarily in the Medicine Hat region. A self taught sculptor, Morley has been working with stone since 1991 and has been involved in exhibits on the west coast and has displayed in galleries in New York, Vancouver, Victoria, Tofino, Salt Spring Island, Calgary, Winnipeg and Medicine Hat.

Artist website:
morleymyers.com

CONTACT:  Studio – Open 11 a.m. to 5 p.m. or by appointment.
128 Graham Drive, Salt Spring Island, Canada. V8K 1J5

Credits / photographs copyright: David Borrowman

Vancouver Island’s premier Summer Arts event – The Sooke Fine Arts Show

'Lumens' (oil on canvas, 2014) by Daniela Herold

‘Lumens’ (oil on canvas, 2014)
by Daniela Herold

I’m happy to report that my oil painting “Lumens” was selected to be part of the Annual SOOKE FINE ARTS SHOW.

The Sooke Fine Arts Show provides the opportunity for the finest artists from Vancouver Island and BC’s coastal islands to showcase and sell their work. The Show, coming into its 29th year, is Vancouver Island’s longest-running juried fine art show and the Island’s premier summer arts event. The 11-day art show and sale draws more than 8000 art lovers from Canada, the US and abroad. More than 375 works of original island art are on display in a stunning, 17,000-square-foot gallery at the SEAPARC complex on Sooke Harbour.

As I have had the wonderful opportunity to be working with Noah Layne, the founder of the Academy for Realistic Art here in Victoria, over the course of the last 2 years, I will be holding an artist’s talk about a topic close to my heart at the Sooke Fine Arts Show on Tuesday, July 28, 1-2 pm.

“Talent vs Technique – The importance of improving your skills to enhance your natural ability” 

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Noah Layne is an amazing painter and teacher who has inspired many of his students.
Here is a glimpse of my upcoming interview with Noah Layne this Fall.

Emile Zola once said: “The artist is nothing without the gift, but the gift is nothing without work.” Would you agree?

Noah Layne: Absolutely.

In what way were you influenced by such painters as Sargent, Rembrandt or Wyeth?

Noah: I was influenced by these painters by the beauty of their work. The truthfulness of their work, both in technique and in how they followed their heart and soul in painting things that moved them.

You started painting by copying Rembrandt and Winslow Homer paintings when you are just 10 years old.  Did you get any guidance when you studied various painting techniques at such a young age and if so, by whom?

Noah: No, just looking and thinking myself.

Why do you believe in the importance of working from life?

Noah: When I am working directly from life I get to experience whatever I am painting first hand – not filtered by anything other than my eyes and brain.

For me, my art has always been focused around the ability and experience of sitting down, and drawing something and making it look like the thing I’m drawing. That magic of creating a realist image just with your hands, a pencil and your brain. I think it’s a pretty magical thing.

What is your advice to art students when it comes to practice?

Noah: My advice would be to figure out what moves you in art and then go about learning the techniques to make the art you want to make, much like playing music where to express yourself well, you have to learn to play your instrument well. In traditional art, learning technique allows you to then say what you want to say.

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About the Sooke Fine Arts Show

Show opens July 24 – Aug 3, open daily 10 am
closing time:  5pm Saturday July 25, Thursday July 30th, and Monday August 3rd. 7pm all other days