Part of what I saw and lived as a child is reflected today in my work

“No.1 / series: The Artist’s Mind” – Mixed, Acrylic and recycled cardboard on wood- 18.5in x 18.5in x 1.57in, 2017

Name: Leo Vergel

DOB: December 1988

Place of birth: Cartagena de Indias, Colombia

Occupation: Artist

I was born on December 16, 1988 in the Caribbean city of Cartagena de Indias, Colombia, I was given the name Jesús Leonardo Vergel Alvarez, but I prefer Leonardo Vergel, because of the pressures of this society that is always dictating what to do, ending up giving up and studying a university degree “Profitable”, which by the way does not end because I decided to make art and live from it. I have never entered an artistic institution, I firmly believe in confronting the work a thousand times and do it very often, I am totally self-taught, painting now means for me to have recast the child I had forgotten.

“Palenquera No.1” – Mixed, Acrylic and recycled cardboard on wood -38.19in x 27.36in x 1.57in, 2015

“Palenquera No.2” – Mixed, acrylic and recycled cardboard on wood- 24.02in x 17.32in x 1.57in, 2016

My technique is to use colored cardboard cutouts, I can use them in a way that has an order or a random shape purposely that allows me to express the idea at that time. The shapes I use are rectangular, square, rhomboid or other triangular cases, I think it is because when I had a little fun playing using these materials and associated them with those geometric figures I saw in school.

“Palenquera No.3” – Mixed, Acrylic and recycled cardboard on wood- 48.03in x 36.02in x 1.57in, 2017

This can also be seen in the funds that I make in my works, to this is added that when I was 7 or 8 years I saw a lot of Japanese TV program called “nopo y gonta” where the presenter very creatively taught Children on topics such as geometry and how this could be creatively used to create any number of fun objects. Part of what I saw and lived as a child is reflected today in my work.

“Mango”- Mixed, Acrylic and recycled cardboard on wood, 55cm x 44cm x 4cm, 2016

My work is handled in a genre that I still try to understand and that for me is handled between painting and collage, but I could not say that it is clearly one or the other. My work begins to manage a little symbolism, from the memories, what I live in my daily life and what I think or how I see the world.

“No.2 / The Artist’s Mind” Acrylic and recycled cardboard on wood, 2017
“No.3 / The Artist’s Mind”- Mixed, Acrylic and recycled cardboard on wood-31.89in x 28.74in x 1.57in, 2017

I like to think that it is Fauvism, by the way I express myself emotionally through color, but with recycled cardboard of vivid colors reinforced with acrylic. I have seen and I am inspired by works of great masters like Gustav Klimt, the way as in his work and uses the color are great teaching for me and I try to achieve it with my work, that the color and the human figure achieve a moving impact In people to the point of reflection. I would like very much to get my work to transcend my generation and in fact to impact people, to let people know that there are always second chances, I want to leave a legacy. My technique is inherent in me, it represents my childhood, when you do not have the resources to paint the only thing that matters is you and your imagination, the rest you forget, it loses importance.

“Open Cage”- Acrylic & recycled cardboard on wood, 45.67in x 35.83in x 1.57in, 2017

 

Exhibitions

2015- Artists Happy Hour. Roxana Avila. Badillo Hotel Gallery. Cartagena Colombia.

2016- Project 30. Art Director: Leonardo González. XIX Festival Zaquesazipa-Funza.

2016- Funza, Cundinamarca, Colombia.


© Leonardo Vergel

Rita Kernn-Larsen

Rita Kernn-Larsen (1904-98) was a Danish Surrealist painter, whom Peggy Guggenheim met in Paris in 1937 and invited to exhibit at her Guggenheim Jeune gallery in London the following year. This show initiated Guggenheim’s patronage of Surrealism.

The current exhibition inaugurates two new exhibition rooms at the Peggy Guggenheim Collection.

Kernn-Larsen played a noteworthy part in the Surrealist movement, both in Denmark and internationally. She trained with Fernand Léger in Paris the early 1930s, distinguishing herself as his star pupil.

Searching For the Moon, 1936-37, Oil on canvas

In the Surrealist vein, Krenn-Larsen merged memories rooted in real-life experiences with dream and imagination, derived from an automatic painting method generating a stream of images from within the unconscious. Her works reflect the Surrealist desire to bridge any possible boundaries or alternative states, be they the human and the natural, dream and reality, the conscious and unconscious. A central motif in her paintings were the femme-arbres, women as arboreal creatures, which allude to the Surrealist’s identification of the female artist with the fertile natural world.

Behind the Mirror, 1937, Oil and sand on vancas
In her later years, Kernn-Larsen moved away from Surrealism towards an art based on both abstraction and nature. Her paintings were selected by the art historian Arturo Schwarz for the 1986 Venice Biennale. This exhibition marks her return to the city after more that thirty years.

The Apple From Normandy / The Apple
1934
Oil on canvas
This is one Kernn-Larsen’s earliest Surrealist paintings. It develops its biomorphic shape through an automatic technique, championed by the Surrealists, in which the subconscious freely directs the hand in tracing the line on the surface.
She explained: “I start with something realistic and its continuation is taken care of by the unconscious. The result often surprises me… there is as such a certain connection to the ‘psychoanalytic’.”

Phantoms 
1934
Oil on canvas
Phantoms originated with a drowning accident that Krenn-Larsen and her husband witnessed on vacation in Normandy at a bathing resort in late summer 1934. ” It was uncanny… two [people] went missing… I don’t think they were ever found. It made a deep impression on me,” she recalled.

Dance and Counter-dance
1936
Oil on canvas
Kernn-Larsen’s works combined memories, dreams and imagination, as the employed an automatic Surrealist painting method to generate a flow of images arising from the unconscious. This is a signature example. The artist explained, “two rhythms play against each other. I consider it to be one of my most successful pictures.”

Self-Portrait (Know Thyself) 
1937
Oil on canvas
The automatic line in this self-portrait evolves from Kernn-Larsen’s personal features. She explained: “I have taken off the shoes because I had to step into the glass.”

The Women’s Uprising
1940
Oil on canvas
The self-identification with fertile nature was frequent in Kernn-Larsen’s work. Seeing nature as female, Surrealist woman artist found in its abundant growth a metaphor for their artistic creation. Here, Kernn-Larsen developed the motif of the femme-arbres, women as arboreal figures, with their growing, sprouting branches.
Notes by: Peggy Guggenheim
Photo Credit: Art Road

Exotic Sensual Illusory

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“Hope ll”

Gustav Klimt

1907-8

Oil, gold and platinum on canvas 

‘Painting of a pregnant woman, and her unborn child as an embodiment of hope and emergence of Sigmund Freud’s explorations of the child within every adult persona in Vienna’s turn-of-the-century. The skull nestling on her belly is an allusion to death.’

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“Lady with Fan”

Gustav Klimt

1917-1918

Oil on canvas

‘This Relaxed pose of  the Lady, calms you down and gives you the opportunity to explore all the rich colours and exquisite patterns of this painting.’

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“Death and Life”

Gustav Klimt

Started in 1908 and finished in1915

Oil on canvas

‘Death and life are two very clear part of the painting. 

Death standing on the left watching over life in an amusing way, and on the right, a man holding a woman and young women behind them are holding their new born child. An older lady in the middle of them, showing another stage of life in a soft and beautiful way. Over representation of women could refer to women as source of life. 

All covered in flowers and patterns that you can see in other Klimt’s paintings. 

Creating the circle of life on canvas in the most poetic way possible.’

Notes: Yasaman Zabihi Zohari

Photos From Wikipedia