Shaping the Wind

Veronica Matiz’s 3D sculptural visions are driven by her curiosity to transform raw elements. The Colombian artist’s fondness for the visual arts came naturally to her in childhood. She explains, “My taste for art started from a very young age, if I remember correctly since I was 6 years old. My mother would drop me off at an aunt's house after school, she was a student at the Faculty of Arts at the National University. She showed me everything she did and let me use her paints and materials, which founded my passion for art.”

Aesthetics

Matiz’s sculptures are composed of geometric shapes that blend seamlessly. Each steel piece complements the previous one to provide that “growing” effect that adds to the gestalt of the sculpture. It is in that repetition of shapes that gives her work a sense of solidity, which is then matched with a color that is as equally striking to the eye. “The aspects that matter the most in my work are light, shape, color and material; it is these elements that help me openly create, and geometry is an essential part. [There is] play and experiment with different angles in a constant search, giving it movement and achieving different shapes in the same sculpture,” she says. 

It is through the motion-like shaping that the sculptures create that airy yet grounded aesthetic to them. Each piece’s center of gravity allows for the sculpture to be built upon piece by piece, which then evokes freely created movement. The finished product at times resembles those organic shapes found in nature and living things.

The artist touches on this aspect, “I started making sculptures with pure geometry, playing with the juxtaposition of form and discovering the wide use of steel sheets. With this cold and masculine material, I managed to create harmonic forms with movement and volume; simulating nature as with butterflies and their great variety of colors and shapes.”

A Deeper Meaning

There is a slight hypnotic element to Matiz’s work. It comes from the way the geometric elements form patterns through repetition. The effect also results in a unique experience for every person. Matiz’s sculptures are a 360° experience and what one sees will depend on where they are standing.

Her work is strong proof of how something simple as a line or curve can be made into something non-static and that evolves. The bright paint colors evoke strong feelings of liveliness, which is indicative of that pull and push view set in motion by each sculpture. Matiz explains, “My evolution can be seen in each of my works, I am always trying to innovate, be it with shape, color, or texture. I always want to put out works that occur to me and seem almost impossible.”

One Last Note

What makes Matiz’s work most enjoyable is the fact that she challenges herself and the viewer to drop assumptions about materials and what is possible through art. She transforms rigid materials, making them appear pliable. Matiz breaks the boundary of what abstract sculpture should look like by making it bold, bendable, and beautiful.

She is currently working on new pieces that will be unveiled next month. “I'm working on new organic shapes, experimenting with colors, and with oxide. I am doing large format, three-dimensional wall sculptures. In September we will see the first results,” she says, and we look forward to it!

For more on the artist’s work, please visit her website.

*Interview translated from Spanish

Today’s poem resembles those seamless sculptural shapes found in Veronica’s work:

Waves

By Louise Townsend Nicholl

One by one upon my shore

    The little waves are laid,

Each one a new and perfect thing

    Which the sea has made.

From that which is forever old

    They come, forever young,

The latest, faintest echoes

    Of the song the sea has sung.

They echo it in whispers.

    I listen ceaselessly,

For fear the echoes die away

    And I should hear the sea.

The Parallel Universe Within

In the surrealist work of Washington D.C. based photographer and artist Don D’marco, the viewer is free to explore life from a subconscious stance. His photographs are created in a collage-like manner resembling fascinating visions you’d find in an alternate reality, a future world, or a scene from an art house film. 

D’marco’s start in the art scene is fairly recent, but he’s already embracing his creative vision. “I found art a couple of years ago, I purchased my first camera in 2017 and it kinda took off from there. I came across the Surrealist Movement after doing a little research, and there was an instant connection. I loved everything about it, the way it takes you to places so wild and unfamiliar blew my mind,” he explains.

The Surrealist Movement began circa 1916 in Europe as the study of that which the eye does not see, which is what makes these works creatively distinct. As André Breton, French writer and one of the fathers of surrealism, stated, that artists should “therefore seek a purely interior model or cease to exist.” An idea that parallels D’marco’s work.

Vision

One of the main focuses in D’marco’s work is humanity. His artistic landscapes relate to everyday experiences that become magnified and more meaningful. In D’marco’s work, we observe individuals who react to their environments, but because these are surrealistic works, the environments are also reacting to the individual.

“I'll take pictures of anything wherever I go, constantly looking for material I might be able to work with. Working on my photos is always a therapeutic and exciting time for me. I can be at home doing absolutely nothing or at my busy job when an idea for a photo comes to mind. I like to just take the simple idea of "things just not making sense" and go from there,” D’marco says.

Composition

D’marco’s clean aesthetic provides a flow for mood-inducing visuals. Just as there is control, there’s also freedom in his work. Body language and positioning tell us about what exists within the subjects’ minds and how they create a reaction to their environment. Most times they seem to be in control of the circumstances and everything else just falls into place engulfing them. But we can see there are moments of a loss of control and consequences, like the man being pulled apart by the car and the woman photographed upside down with white eyes.

Interpretation 

D’marco creates a striking balance of shapes, light, shadow, texture, and surprise elements. It’s an act of taking apart our psyche and understanding it piece by piece, and even when it isn’t meant to be understood, it can be represented in a new way. Be it feelings, thoughts, fears, or anything that can be ambiguous at times. Or as Salvador Dali describes surrealism, “ [it] destroys only what it considers to be shackles limiting our vision.”

“I would say that art has definitely changed the way I look at the world, so I can imagine I’ll still be working on it when I'm old and gray. I'm excited to keep growing, learning new skills, and meeting new people. Just got a Sears KS film camera so have new material from that coming soon,” D’marco explains.

Final Thoughts 

D’marco understands what it means to be in touch with the self, a skill that makes artists authentic and allows them to express themselves from the soul. Taking apart a vision is only the beginning of understanding. That’s when his work comes in, by creating space to start that thought-related conversation with ourselves and others.

All photos courtesy of the artist. For more on Don D’marco’s work, please visit his website.

Today’s poem is inspired by Don’s mindful vision of oneself, internally and externally.

Keeping Things Whole

BY MARK STRAND

In a field

I am the absence

of field.

This is

always the case.

Wherever I am

I am what is missing.

When I walk

I part the air

and always

the air moves in   

to fill the spaces

where my body’s been.

We all have reasons

for moving.

I move

to keep things whole.

A Writer's Canvas

Confessing our deepest emotions through our own words at times seems like the impossible task. Sure, there’s fear of all potential judgments, which is overwhelming for anyone, but saying what we mean is liberating. For Ecuadorian artist, Jaime Nuñez del Arco, the written word serves as a powerful tool to deliver snippets of raw human condition capturing distinct parts of our psyche. These striking messages are supported by a complex vignette of visuals that are sprinkled around to complement the story being told on canvas. 

Painting is something that has always remained close to Nuñez del Arco’s heart and culture. As he points out, “I come from an Ecuadorian coastal family that is strongly connected to culture and letters; artists, musicians, poets and writers. I keep memories from my childhood like drawing metal band logos and creating small fanzine-inspired movie posters that appeared in the local newspaper. Then I continued writing regularly, and studying and working as an advertising copywriter in agencies.”

Nuñez del Arco’s work has a “punk” element aligned with the Neo-expressionist movement of the 1970s.  First emerged in America, the movement paired words with cartoon-like visuals welcoming a fresh way of looking at life through an unapologetic artistic lens. The style is known for expressing intense emotion through vibrant colors in an almost collage-like manner. Renowned artists emerging from this school include Julian Schnabel, Jean-Michel Basquiat, and Georg Baselitz. 

For Nuñez del Arco, as his career started taking off during the 2000s, he showed his first works on paper and other small formats at galleries in Ecuador and Europe. “However, I consider that my first serious show took place when I was invited to On the Edge of Drawing (2010), a collective in the mythical gallery DPM in Guayaquil, curated by Rodolfo Kronfle Chambers,” he says.

His ability to mix graffiti-like visuals, scribble, and words instigates one’s own imagination to kick into high gear. In comparison to today’s world where language sometimes takes a backseat to visual imagery, thanks to social media, television, and smartphones, it’s refreshing to bring back communication via words and language overall. It’s like we have almost forgotten about the power of imagination that comes from organically connecting to messages by reading versus solely relying on visual imagery. By observing the artist’s work, our minds connect the dots to the messages that include confessions, realizations, or simple truths about humanity with pools of color scattered with a feeling to envelop each moment within the whole, like puzzle pieces.

“Words allow me to maintain direct dialogue with an audience. In many of my works, texts extend to build short stories, sometimes ironic, sometimes humorous, always observations of our relationships with sex, technology, religion, or consumption. The pace of letters, strokes, dimensions, readability, and their location in space are variables that define the tone of the work and how we relate to it. There is an architectural element in the connection and stack of letters that attracts me. Although some pieces can be nearly impossible to read, if you invest a little time in these very recognizable forms, you can discover its intention, or desire, build your own narrative. I believe my work progresses towards a world almost entirely written, but of course, also could become something even more chaotic, abstract and cloudy. For now, it is essential to keep writing and keep looking,” he explains.

Nuñez del Arco’s work has been receiving more international exposure. Last year, he had individual shows in Quito (Ecuador), took part in a collective in Klosterfelde Gallery (Berlin) and participated in the Saatchi Gallery’s Screen Project (London). He also expands creatively through his side project Terminal Editions (terminalediciones.com), which allows him to publish his own artist books and those of great talents in Latin American. Additionally, he contributes to collections for institutions such as Printed Matter, Inc. in New York City, the New York Public Library and the MACBA in Barcelona.

The artist is focused on revealing how humans express themselves about anything and how we all do it in an individual manner, which essentially drives his creative mind to create the works we see today. He explains, “I love Wikipedia, the system of questions and answers in Quora, letters to the editor of old magazines, poorly drafted band biographies or characters in subcultures, comments full of humor, romance, nostalgia, violence, and even racism that you are in video YouTube, Instagram posts, or articles from the New York Times. These are all marginal short texts, forgotten and quickly discarded that inspire me to build my works. And even among my clear references are Cy Twombly, Basquiat or contemporaries like David Shrigley or Mark Gonzales, the truth is that I do not follow much the work of other artists. I work day-to-day to detach from that visual obsession that we live with. I prefer to keep sailing between letters, absurd constructions and my own memories.”

That honesty portrayed in his work reveals the layers of humanity that shape the questions, perceptions, opinions, and breakthroughs of our lives. It shows that life is not always lived through the need for preconceived perfection, and even when it is, one can still find the guts to laugh at the absurdities and find humor in the small things as we continue to figure out our individual life cycle in the contemporary world. 

For more about the artist, please visit his website.

Today’s poem reflects Jaime’s effective use of words on paint:

A Supermarket in California 

BY ALLEN GINSBERG

What thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.

         In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations!

         What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?

         I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys.

         I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel?

         I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective.

         We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier.

         Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight?

         (I touch your book and dream of our odyssey in the supermarket and feel absurd.)

         Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we'll both be lonely.

         Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?

         Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?

Berkeley, 1955