These poems are ancient eulogies, with a recurrent note, ay! of melancholy waters, a chorus of sorrowful spaces, of long-lost dreams. His poetry is the eternal trickling of a desolate sound, the loss and the restitution of heartrending essences.

Pablo Neruda | from “A Dead Man’s Name” in Passions and Impressions (Farrar, Straus and Giroux, 2001).

via metaphorformetaphor


Kevin Best | Still Life - Infinite Vanitas | 2011 | Digital art.

As you might imagine, I look at a lot of art. On a normal day, I usually reject about three pieces for every one I post. One of the problems I often have when posting to this blog revolves around this question: “Is it surreal?”, which is to say, does this piece fit in the aesthetics and philosophies of surrealism? Who’s to say? I’m not an expert by any means; I’m merely a fan.

I love still life art. I think nearly all of it is surreal. There’s something about the placement of objects that reminds me of the Comte de Lautréamont famous phrase: “As beautiful as the chance encounter of a sewing machine and an umbrella on an operating table.” However, I hold my self to a higher standard when selecting art for this blog. It needs to clearly fit within the aesthetics of surrealism.

So, I look at Kevin Best’s art and I am mystified. This looks like surrealism to me; but, why? It can’t just be the objects themselves. If it were, then any Cézanne would also be surrealism, which, at least to art scholars, is ludicrous. It’s not the mirrors; although, I do see a bit of Magritte’s influence there. So, I keep looking. And then, all at once I realize the aspect of this painting that is the easiest to overlook; but, is the feature fits it squarely within surrealism.

The bubbles.


Hans Bellmer | Peg Top | 1937 | Oil on canvas | Tate Gallery, London, England.

From Tate:

"This image relates to a plan for a sculpture, which Bellmer never completed. The peg-top was intended to symbolise a woman turning the heads and hearts of men. Bellmer was interested in ideas of fetishism, drawing out sexual associations between inert objects and the body."

Wanda Wulz (1903-1984) | 'Io + Gatto' (Self Portrait) | 1932 | Photograph

"Wanda Wulz’s self-portrait ‘Io + Gatto’, where she superimposes a photo of her cat Pippo on top of an image of herself, is one of the most famous double exposures in photo history. In 1932, Wulz presented the photograph in the ‘Mostra Fotografica Futurista’ in Trieste, where it was hailed as the highlight of the exhibition."

- WestLicht Photographica

Hannah Höch (German, 1889-1978) | Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany | 1919-1920 | Photomontage and collage with watercolor | 44 7/8 x 35 7/16 in. (114 x 90 cm)