Beauty will be convulsive or will not be at all.
– André Breton
• According to Breton, beauty is convulsive in three ways. One, mimicry, like the markings on moths imitate eyes. Two, the delay or termination of movement regarding something that should have been in motion. To use Breton’s example, the idea of an abandoned train in a forest. It’s intriguing, at least. Three, the found object as a sign of desire. All three define beauty as internally fragmented, turning an otherwise seamless experience of reality into a representation of it. Photography can visualize those internal disjunctions. Man Ray’s Kiss and film still of Kiki depict the face as fragmented and so focus on the lips as the sign of desire. In other words, the hint is more evocative than the faithful narrative.
• Adam Martinakis’ Future Love applies Breton’s principles in liquid silver streams.
• Edu Barba’s Big Number Three and Thoughts Are Free are digital prints that cleverly manipulate numbers, letters, and grids.
• Lynn Harrisberger’s Bracelets have XO attached to sterling silver bands.
• Eduardo Martínez Nieto’s Seratonin is a polaroid reminiscent of Man Ray’s habit of painting eyes over Kiki’s eyelids.
• Sue Szabo’s Ring spells out XO in sterling silver.
• Jump Flip Circus’ Dormir depicts a man dreaming of vintage paper ephemera, like we all do.
• Manya Nazarian’s Lip Ring is a realistic set of lush lips, creases and all, in oxidized silver.
• James Dillon’s Pins remind us that art may be dead, but Dada lives forever.
Arts and Sciences,
Compiled Upon A New Plan.
The different Sciences and Arts are divided into
Selected Layers of Images;
The various Technical Terms, etc. are never explained as they occur
in the order of the Alphabet.
Illustrated with Faces, Maps, Generals, Greek Gods, and Roosters.
By a Society of Paper Carvers in Bristol.
In One Volume.
• DISASTER: the aftermath of removing one book from a wall of 40,000.
• FEATHER: one possible object to frame inside an antique book.
• WHALE: the wooden canvas for a hunting expedition.
• SAXIDOMUS GIGANTEUS: the latin name for a butter clam shell, commonly used as a front and back cover for palm-sized books.
• ACCORDION: the shape of folded book pages fanned out on a wall.
• PUMPKIN: a roundabout way of reading if made with pages of a book.
• LANDSCAPE: what cuts through a book if the story is particularly vivid.
It bores me.
– Francis Picabia
Having Flowers for a head has its drawbacks, like not being able to help the Spider move his house. I had to be and think like a Fox. I took a pair of eyes from the Eye Box and started to make my own. I painted a Bicycle Saddle red and turned it into the nose, and I found some antique shoe stretchers for the ears. My Lips Table puffed up into some Giant Red Lips, which I know were not necessary but I couldn’t help myself. The spider needed some extra helping hands so I brought my Hand Handbag.
“…and what shall I love if not the enigma.
— Giorgio de Chirico
De Chirico’s paintings may seem incomprehensible, as we try to anchor a thread of reason and recognizability in his compositions. However, it is precisely the combination of precision and ambiguity that hints at reality without directly making the connection. Architecture of nearly empty cities, mannequins, and shadows trigger an inkling that they are part of a narrative, but even a series of similar paintings does not suggest a coherent set of symbolic associations.
Chirico was undoubtedly influenced by the avant-garde movements of the time, and the closest interpretations of his work probably come from references to contemporary plays, books, and philosophies. At the same time, his paintings portray a level of the subconscious that can not be explained in a logical manner, as it “will enter the regions of childhood vision and dream.”