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Surrealism as an artistic current since its appearance coinciding with the dawn of the twentieth century, was already postulated as an expressive movement that transcended the purely aesthetic. Apart from having an evident connotation from its beginnings.

That linked it to a greater or lesser extent with the exploration of the unconscious, having therefore something more than a flirtation with the Vienna school and psychoanalysis, as a practice that in some way established the basis for describing the exploration of our oneiric universe. A nuance referred to by Andre Breton in his famous Surrealist Manifesto.

It also had an interpretation or capacity so that many of the works could lend themselves to analysis or political-social readings, of which apart from their allegorical capacity. They became a chronicle of the episodes and events that we witnessed as individuals.

Describing with more or less fortune the patterns of behavior, that both in individual and collective terms we were acquiring. Opening highly suggestive debates in ethno-anthropological terms regarding our standards of behavior as human beings.

Within the prolific work of the artist Alex Gross, resident in the Californian city of Los Angeles, there is a tendency to apply this analytical approach. Exercise through which he makes us an inventory of an individualized society.

Based on the value of consumption and aesthetic values that atomizes the behavior of the individual, presenting him as a zombie illuminated by the religion of POP culture. Whose artistic component makes an appearance not only at the time of adding.

READ IT IN SPANISH: Alex Gross, La ilusión POP de un futuro cancelado

Elements and objects belonging to the digital era, making continuous references to the increasingly pervasive technology and the excess of information. Transmitted in loop by the doctrine of the unique thought. Where temptation is represented by the head of the hydra that divides and multiplies, projecting from its eye sockets.

Commercial brands alternate with icons of popular culture, and political figures that have marked an era, in compositions where surrealist, pop and figurative elements cohabit.

There is something old-world in the work of Montreal artist Heidi Taillefer, an evocative and romantic air, her paintings featuring figures from ancient mythology, religion and history. They navigate between the classical and the figurative and her archetypal subjects.

His preoccupation with technology and the way it is changing the perspective on human existence and the way we relate to each other. His subjects are chimerical manifestations that combine human and animal body parts.

To which she adds, light bulbs and antique objects, making them float with anticipatory tension in their environment. In the case of Heidi Taillefer, she fuses classical figurative painting with the most dreamlike surrealism, to which she adds elements of mythology and popular figurative traditions ranging from Victorian romanticism to science fiction.

His work is in line with some of the surrealists of the twentieth century, such as Max Ernst and DeChirico. With this background he traces the profile of the human condition through different eras and cultures, building his own lens and language.

READ IT IN SPANISH: Épica mitológica en el mundo surrealista de la artista Heidi Taillefer

This approach reflects the omnipresence of technological advances in the world and how their influence is increasingly present in more creative fields. Born in the Canadian city of Montreal, Heidi Taillefer began drawing at the age of three, raised in a wealthy family.

She was fortunate to be brought up in a creative environment, where she was drawn to the strange and unusual. Fascinated by strange animal specimens. From the age of ten she took private art lessons, where she developed skills in watercolor painting.

After earning a degree in humanistic studies from McGill University in the 1990s, Taillefer began making numerous trips to developing countries. Paying special attention to the most universal themes of the human condition, in the context of an increasingly volatile and globalized society.

The organic sculptures of the artist Federico Gomez link the raw material used in their elaboration to the formation of an identity, whether it is forest residue or fallen trunks. He adopts them as his children and through the form of a tree he narrates in first person what he perceives.

Weaving an experience that he shares visually with other living beings, a gesture that seals his commitment to his natural environment. Dictated in an ecological key, the message travels through the transformation of the landscape where each piece is located.

Inspired by nature and each and every one of the elements that inhabit it, giving it its logic, he perceives each sculpture he makes as a totem. Through which to contemplate the world with a certain calmness and taking the necessary distance.

A CONTEMPLATIVE JOURNEY FROM THE GENESIS OF NATURE.

Reminiscent, except for specific nuances, of cave art, at least in terms of rhythm and expression. That draws on ancestral ethnic art to connect us with our past and show us what our future may be like.

The elaboration of each piece, therefore, involves applying high doses of temperance. Because it has a lot of craftsmanship technique involving a laborious process, where the characteristics of the environment are a major influence on the final result.

READ IT IN SPANISH: Federico Gomez, arbol y raíz como expresión de nuestros origenes

Born in Madrid, he lives in the town of Bustarviejo, where Federico has the appropriate environment surrounded by forests and in the middle of the mountains of Madrid where he works in the calm. Carving specimens of trees whose final result, whether individual works or sculptural ensembles describe a journey back and forth.

Where the roots and identity are a journey where the natural environment is always present. Manifesting itself in each hollow, in each and every one of the silhouettes and the fragility they represent before our eyes.

The horse is perhaps the animal that has most often served as a model for a multitude of artistic manifestations. Since its slender figure was reproduced in cave paintings, made by our prehistoric ancestors.

Using rudimentary dyes made with the essences extracted from roots and plants, they painted on the surfaces of the interior of the caves. Dozens of examples have been found so far where this noble animal is represented.

Due to their great plasticity, these equines have become the inspiration for hundreds of artists. The landscape sculptor and Land Art artist Heather Jansch, picks up these same roots of our ancestors to use the form acquired in their maturation to weave sculptures of mainly adult horses.

WILD HORSES ON AN ARTISTIC JOURNEY FROM PREHISTORIC TIMES TO THE PRESENT DAY.

Heather uses roots from the woods around the Westcountry in the UK. A region where forests and steppes abound, meeting the ideal characteristics so that since the first equine populations arrived thousands of years ago, they have been used for a multitude of tasks.

In the case of the horses that serve as Heather's models, they are a selection from her own stable of horses. Horses that the artist has been passionate about since her childhood, when she also acquired a taste for art, thanks in large part to her other great passion.

READ IT IN SPANISH: Heather Jansch - Driftwood horses, la raíz del caballo salvaje

That is none other than Leonardo Da Vinci, not only one of the most important representatives of his time, the Renaissance. But in addition to his artistic facet, he was prolific in others such as alchemy, as well as contributing with his inventiveness thanks to which he patented numerous formulas and prototypes.

Whose sketches represented a great influence in his working method. Inspiration that, if you pay a little attention, among other things in the notion of movement and volume that Heather applies in each and every one of the projects she undertakes.

Practically self-taught, Heather left the art academy on the advice of her tutor. Moving to a rural environment where she reconnected with herself through art, applying the little knowledge she had about art.

In the elaboration of the series Driftwood horses, of which you can find further documentation in her book titled Heather Jansch's Diary. Where, in addition to a large amount of graphic material, the author accompanies you with reviews and a portrait of each and every one of the sculptures collected in its more than one hundred pages.

Her equestrian figures, which have been the subject of numerous exhibitions, are predominantly exhibited in natural settings, and are highly sought after not only by collectors of equestrian art. But by a diversity of private and public collectors.

The interventions and installations of Slovenian artist Matej Andraz Vogrinčič, are characterized by three aspects that can be observed throughout his long career.

The first has to relate to his treatment of space and its relationship with architecture. Because of this approach he almost always selects monumental buildings, many of them in a state of ruin, as scenarios. Whose structure turns them into hosts where objects are hosted, modifying their original identity and uses.

The second is related to the first, and cannot be dissociated from it, and has to do with the massive effect of his proposals and the uniform disposition he uses to place the objects in space. Almost in all cases applying a homogeneous pattern that creates the impression of community and strength through unity.

Whose purpose is to establish a dialogue with it and how we contemplate it according to the criteria and the position we adopt as observers in a flexible environment in constant change. As is undoubtedly all the elements that make up a natural landscape.

CREATING NATURAL PATTERNS FROM OBJECTS

And the third has to do with its nomadic condition and its ability to adapt its aesthetic vision to any type of environment while preserving its essence from the viewer's point of view. Whether in the middle of an Australian desert, among the remains of an abandoned church in England, or in climates as extreme as those experienced in the Siberian tundra.

READ IT IN SPANISH: Matej Andraz Vogrinčič, tranformación y paisaje desde una óptica reciclada

Matej methodically and without altering anything but the accessories of his execution process, completes each installation with reference to elements that he considers to be part of the local culture, acting accordingly on the territory, without altering it and causing the least environmental impact.

For the basic materials he uses are waste materials that after selecting them based on different basic criteria such as shape, color or texture, he catalogs and stores them for possible projects. Whose theme can be included within the current of abstraction.

Matej's works reflect on the possibilities of the landscape and its aesthetic performance, in a context where the presence of human beings subdues it, stripping it of its natural texture.

It is no coincidence that his personal reference in the history of art is Ben Vautier, an Italian-French avant-garde artist whose profile and polemic statements in favor of multi-culturalism and artistic practice beyond the established canons of beauty and academic orthodoxy. They have influenced her artistic practice where aesthetically she seems to be dominated by an ordered chaos.

Civitanova Marche es una pequeña localidad situada en la costa Este Italia a orilas del Mar Adriatico, un tranquilo pueblo de tradición marinera de los muchos que el viajero se puede encontrar mientras se dirige a Montecarlo penúltima parada antes de llegar a Venecia.

Y cuya profunda tradicción Mediterranea se puede degustar paseando entre sus coquetas callejuelas o degustando su gastronomía, paisaje y costumbres que han influenciado en la obra de un joven artista local que respondiendo al nombre de Giulio Vesprini.

Representa esta herencia Mediterranea que se puede observar en muchos otros artistas como Miro, Dali o Sorolla. Trasladando esa luminosidad en el tratamiento de los colores a un sin fin de lugares de su localidad.

En forma de intervenciones que se caracterizan por la abstracción en sus formas y geometrías, murales con los que se ha forjado una identidad propia cuyo prestigio le ha permitido participar en numerosos festivales y eventos de arte urbano.

MINIMALISMO ABSTRACTO DE INFLUENCIA MEDITARRENEA

Experiencia acumulada que tras casi diez años de trabajo decide poner en valor a través de un proyecto artístico, por el que pretende revitalizar social y culturalmente la localidad que le ha visto crecer y que tanto ha influenciado en su vida.

Poniendo en marcha Vedo a Colori, festival de arte urbano que se viene celebrando desde 2009 y cuya ultima edición celebrada en 2018 sirvió para presentar el documental Vedo a Colori. Un documentario al porto.

Dirigido por Caterina Marchetti en los alrededor de treinta minutos que dura la cinta se pondera a través de imagenes filmadas en diferentes contextos, sobre los beneficios que ha supuesto en términos socio-economícos para esta villa y sus habitantes.

UN FESTIVAL DE ARTE URBANO CON SEÑAS DE IDENTIDAD

Una actividad creativa y sus multiples manifestaciones artísticas, describiendote como en un príncipio un formula tan alejada y ajena a los intereses y tradiciones locales. A lo largo de estos diez años de existencia, el proyecto se ha convertido en una de las fuentes de ingresos principal para comunidad.

Imagenes que se alternan con aquellas en las que Giulio hace acto de aparición, y en las que aparte de contarnos el funcionamiento y entresijos de una cita de estas características con sus pros y sus contras.

Nos realiza en clave mas personal un recorrido por su trayectoria como artista, haciendo especial hincapié en la mención del concepto de Archigraphia. Un termino compuesto que etilógicamente se nutre de la arquitectura y el diseño, y a través del que Giulio ha creado su particular epifania creativa.

Relacionado: El artista urbano Pejac cultiva el paisaje de NY con arboles de ladrillos

Giulio Vesprini es un artista polifacetico que como otros creadores ha definido su estilo a través de la practica urbana, evolución que ha trazado a partir de un punto equidistante entre sus inquietudes expresivas y los elementos que conforman su acervo cultural y paisajístico.

Giulio Vesprini_VEDO A COLORI from GIULIO VESPRINI on Vimeo.

Las playas de Bondi a Tamarama Beach aparte de por su atractivo para los turistas y de ser lugar de encuentro, donde miles de surfistas realizan su deporte favorito. Se convierte en lo que dura el verano austral. En un museo al aire donde artistas del todo el mundo exponen su obra.

Situadas a medio camino entre las ciudades australianas de Sidney y Perth, en sus blancas arenas desde hace 18 ediciones se celebra una muestra. En la que han tenido oportunidad de exhibir su obra mas de mil autores venidos de los cinco continentes, en una muestra multicultural y global que cada vez tiene mas adeptos.

Los artistas realizan su trabajo in situ, en permanente contacto con el publico en lo que supone una experiencia enriquecedora para ambas partes.

Para la ultima edición de Sculpture by the sea (no confundir con el museo arte libre que hay en la costa danesa y del que aquí hemos hablado) entre toallas, sombrillas y cremas de protección social, se han podido contemplar proyectos de mas cien artistas tanto locales como foráneos. Que en horarios de mañana y tarde realizan su trabajo in situ, en permanente contacto con el publico en lo que supone una experiencia enriquecedora para ambas partes.

Aunque la mayoría de las obras son de carácter efímero, trasladandose de lugar porque son adquiridas por algún particular o porque se las queda el autor para su colección privada. Otra parte pasa a formar parte de la colección permanente, pudiendo ser visitada por el publico en general estando accesible en cualquier época del año.

Relacionado: Najjar & Najjar Architects - IRIS