The faceless figures in Rene Fernando Ortega Villarroel’s work open a doorway to our silhouette.
Las figuras sin rostro en la obra de René Fernando Ortega Villarroel abren una puerta a nuestra silueta.
A labyrinth that challenges realities between an all-knowing self and a unicursal passage of selves.
Un laberinto que desafía realidades entre un yo que todo lo sabe y un pasaje unicursal de yos.
The viewer will see waves of motion paused long enough to discover psychic architecture and lapidary engines.
El espectador verá ondas de movimiento pausadas el tiempo suficiente para descubrir la arquitectura psíquica y los motores lapidarios.
Rene Fernando Ortega Villarroel’s art delivers a psychic experience to our world. The deities are shapes and eternal archetypes
El arte de René Fernando Ortega Villarroel entrega una experiencia psíquica a nuestro mundo. Las deidades son formas y arquetipos eternos.
The vision is an art beyond the vanishing points camouflaged and hunted by shamanic, artistic, and theurgic observance.
La visión es un arte más allá de los puntos de fuga camuflados y cazados por la observancia chamánica, artística y teúrgica
Rene Fernando Ortega Villarroel is a visual artist from Chile who practices the ancient tradition of X-ray vision in his painting.
René Fernando Ortega Villarroel es un artista visual de Chile que practica la antigua tradición de la visión de rayos X en su pintura.
Rene has exhibited work in Chile and Argentina. He is involved in many cultural art programs that have related to hospitals, children and teaching art professionally.
René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural relacionados con hospitales, niños y la enseñanza del arte profesionalmente.
“My concern is the human figure as a feeling of primitive and irrational states, whose main point is the heads, universal thought of the creation of man and center of the universe. All this led to a mutation of the plastic and pictorial language”. Rene Ortega Villarroel
“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo esto llevado a un mutamiento del lenguaje plástico y pictórico”. Rene Ortega Villarroel
Everyone is invited and welcome to celebrate Rene Fernando Ortega Villarroel’s exposition Mental Labyrinths at the Til Til Cultural Center Art gallery on June 18, 2022
Todos están invitados y bienvenidos a celebrar la exposición Laberintos mentales de René Fernando Ortega Villarroel en la galería de arte del Centro Cultural Til Til el 18 de junio de 2022.
05/14/21 cosmic fires burn behind the rich, black fabric of the night which parts to let the magic pass as particles of filtered light the door lies open, the gate lies closed life travels, small and swift through tiny tears a missing stitch and life. the flow itself the tear itself the seam a sight of seeming death that folds, unfolds itself in weeds of grief and swaddles itself and for the first time sees that there the door lies open to those laid out or she on knees black wings opened out speak out in seven rings the universe talks and, so, we sing
07/09/21 shifting stars and shifting rays of light pierce, project through fractal lens into the fractured night the universe mind filters through this facet and another then the other and the next it’s all-color light refracted into rainbow shimmer variations, life the shadow dark descent of being is iridescent sacred, sweet the night is full of teeming things and thoughts of universe that sings
09/03/21 black wings flap against the dawn lingering sweetly in the dark prolonging, savoring the last few tendrils of night but the dark, black velvet sky grows thin and soon the silken cloth of twilight transparent and delicate ripples, dissolves in a moment is gone and morning begins a teardrop bright and golden falls to the bottom of the deep blue bowl that holds it, the sky and rolls back down the otherside and so the sun descends again, again again once, we saw it rise but that was long ago before we learned its name and learned to make the choice ever to fall or ever to rise or yet-to-be asleep abide
EGREGORE An exhibition by the Atlanta Surrealist Group Steven Cline, Hazel Cline, Aaron Dylan Kearns, Juli Maria Kearns, Megan Leach, Steve Morrison. October 21-31 2021 The Bakery – Atlanta, Georgia
ELEPHANT WORLD
Collaborative writing: Hazel & Steven Cline
Grey smoke, static-waiting in this lonely god-form, the elephant world. Atmosphere of iron, melting into sea. The sea must move. Must never stop. Yet, it never forgets. From the cavernous, from the well, a swallow jumps. Its cry the first sound, its wings flap the first wind into being and make the movers move. Time, wrapped in a desert blanket, becomes muffled. A lunar heli-clipse spirals inside outside, holding death in her paws, crush what skull to wholeness? A mouse, a mouse of silver coat, has singed the lungs of the elephants who dance in circles under their lost mother, the moon. Stars expand, devouring the black, betraying the void. And as the myriad forms octopi the fountains of misery, love and thermometers break free. Is it cold or burning in the heart of the world; Is it strange, or stranger?
01/03/2020 the darkening skies must shudder and crack the darkening limits of love must break and the lightning must flow through the veins of the glow the violet glow of history unchained and memory unknown there is a quiet place in unrequited grief we must keep our face streaked with grief and never forget again that we love the lightning of hillsides and the lightening of hearts must not stop the lightning that breaks our barriers apart
Ornithomancy: divination by observation of the flight of birds
ALLCLOCKWORK
Collaborative writing: Hazel & Steven Cline
The Universe, her own lost lover, may be seen as machine, as a spiraling victorian machine of goldgear, allclockwork like a song, who descends again this dream. Angelic beings formulated only as a song of pure smell drift inward, licking like a perfumed song. A scented song that melts into black glass, darker than vacuum and more crystalline than volcanic orangutans. The seabird honks slowly, irreversibly, a world into myth. The spiderweb lacework left behind by all this resembles only slightly the forlorn face of Desire and her aging pack-animal, the horned, helical diviser of all manners of play. Patterns of a great mathematical sigh leap forward, and reveal themselves to have been all along a simple jest to amuse the one remembered in Desire’s lair. Speak! Reverse! This, the pelican calls to me, to be unafraid. This last day is sweet. A multitude, an ancient epoch, indwelling therein may, inside those glittering gears, break bread with shadows. But ever, ever, while the lonely lives we lead sits weeping by her mirror, can the Victrola spit out its slugs of light. In the sky above, what! cries the clouds, what is this fracture, this suture called time? Or elsewhere called form? Around us, a tower sheds its skin. Inside us, a tower devours and delights. And this hour is born as if it were the first hour, and the last hour, penetrating deep the ear of the Other. Again and again, but this time, the gears are well worn. This time…our ghosts dance.
RAINBOW DIVING
Collaborative writing: Hazel & Steven Cline
A rainbow earthbound, dividing itself, disassembling. Red, caught in prairie dog’s embrace, builds his mudhouse around the hourglass cavern entrance. Blue, thoughtform, endodermic emissaries as its always, reshapes rain into purring playful kittens. Red, again, many times, but this time, most sweetly does it redden. Yellow kicks world’s undercarriage in its shins, bumbling slowly, stupidly; of all the violent yellows of the imagination, honey alone is tenderest, a spongecake, a saucy milksop. Ah, but purple! A color now, and then another. One color and many, Solitary and mixed. But all of these are just wet laundry in cardboard, skybleeders without care. Try instead the complexity of the allcolor udder that fills bellybirth calendars with Orange with Orange’s sad and wayward beams. Indeed, full orchards in bloom. Undercurrents undersea, liquidic petunias, Green breaks all this in her witherworn gaze, drowning into pulpworm magnificents. Learn well, then, the mazes of the deeps, or fall eternally, inexorably into farting arabesques! Or else, the obsidian horizons and wellsprings by which the silent tuber sleeps.
A Virtual Post Card to the Clines from Mitchell Pluto
SPIDERWAVES
Collaborative writing: Hazel & Steven Cline
Sun on my face; worm in my palm. Where is the tree I saw before I was born if not in your heart? A dancer pounds the sand into myriad dynasties of memory. Eruption of geometric solids from a hardening ground. Devastated again and again into life. Without an eclipse of the moon; Without the face I missed and without the soonness of the end. Satisfaction gave way to a pomegranate; and then the dancers in the sky, in the night, in the sand fuse via epilepsy. Shadows silver, and I find I have something to lose. Something, as in hat or muskrat, but in other words there are many things of which we are made of. Mountainous sheets of white sand, signing high notes inside, outside. What is a mountain if not the universe? All I can think of is…whale. All I can think of is whale, which is everything. Everything, blowing sheet metal kisses across aquatic dreamtime streams. Kiss, then the sands, kiss then wind. The river makes love as you fly from the waterfall to the ocean. Spiderwaves crashing in your ears, and wouldn’t you know it? A secret succumb to the drifts.
CATERWAULING
Collaborative writing: Hazel & Steven Cline
Impish sprouts, come now, rejoin the nature choir. Spout from belly, cast skin aside, rejoin the broken ends of hairway screaming. Become erect in thy tendrils, in thy vines, in thy flowering eyelids, eyelips. Scales, weatherworn, may become grey or spotted, may become a disease repeated. Repetitive formlessness may become eyeless. Liked a castaway grail, like a traveler without species or a lichen dripping, frothing from the tips of broken fingers. Inside Castle, the deepness sleeps. The deepness repeats, reaching longingly out through the ribcagebars that hold its will in check. Across swampmoat, a game of chess is played, and yes, a checkmate too. A matter of alligator flesh, weighs your worth on its scales. Firebreather, O firething, O fireeater, bring forth the charred pieces of moleblind contempt, thy master. And lay him here, unbroken on that breakening altar, his feetflesh pollinated by cold wind. But the wind will have none of it. Virgin the wind is and will remain, no matter how many times she is raped. Caterwauling is a way for millipedes to divide and seek out that onebrightmissingthing. O everfree! O everleaving! A soul’s void casts its own shadow, too, my friend. O overbearing openness! Such openness is evisceration. Is evisceration, or crushed and squirming eggplant. A call: come now, worm, come now wind, defend your keep! Atom and Electron, enemies, conspirators, corpuscular in their insane infancy. We shall become nematodes on this day, or we shall expire. Thus is the will of the organ defended. Thus is the desire of the flesh raised again.
When I bite down, my teeth spread fire. I bite down on tree, I bite down hard…a California, newly blackened. When I bite down on swimming pool? When I bite down on sea? I see the ships come and go in the night. From where do they come and wither do they go again? Where but the watery depths that hold the stars with a cargo such as that they leave at every doorstep and every grave. A ghost hand floating, a hand laid down, in a casket amongst friends. A weaponized hairplane, and a truth? Pearly truth? Pearly, yes, of the falsest kind, unlike the inky liquid left by the octopus my sister stepped on that summer when we were five or six. The luster of a pearl reflects the hungry gaze of the wanderer. But the unreflective black of closed eyes or submersion under the hungry waves shows the empty colors and flashes that call upward from eternity’s open veins…
LADYBUG LEVIATHAN
Collaborative writing: Hazel & Steven Cline
City of Cyber, inside belly of Panda. Inside panda-belly, squirming datanet suckers towards the base of your brain. Down flows the river of nerves, down winding, writhing around one another and the spine of this world. This planet called Ladybug Leviathan, this universe called Old Misery Guts. Once again this universe tells the story of the time when the slimesnake jacked in with his god cord, shivering electrical. And jacked off into the abyssal plains of the sordid, sacred animal brain of the metrosynaptic gecko. Everything teal here, everything teal or sometimes pink. And blood always purple, and blood rerouted through networks of laughter that rumble through those beautiful bowels that wailed and woke the world before worlds. Reprogram this panda, O history-keeper, O kelp-satisfied lizard of night’s mist. Open at last the lid behind the lid. Exsanguinate, expectorate, mark the spot where the psionic piston rotates. What, then, if that rotation should cease? What, then, if all the dark little spots behind your eyes should suddenly come to life?
I started drawing tarot cards as a way to deepen my relationship with and understanding of the characters and archetypes that people them. I went along with the fool on their journey, and together we struggled, died, were reborn, learned about life and ourselves, and started all over again.
Oscar Barra was Born in Santiago in 1964, he studied Art at the University of Concepción, co-founder of Grisalla, an outstanding group of artists from the 90s and early 2000s. Mainly dedicated to painting, he has extended his creation to engraving, sculpture and the drawing. He currently resides between Concón and also maintains a workshop in Santiago.
Oscar Barra was Born in Santiago in 1964, he studied Art at the University of Concepción, co-founder of Grisalla, an outstanding group of artists from the 90s and early 2000s. Mainly dedicated to painting, he has extended his creation to engraving, sculpture and the drawing. He currently resides between Concón and also maintains a workshop in Santiago.
My work can be framed within the current of surrealism; it is figurative, fantastic and is characterized by a detailed drawing and the absence of perspective, flat volumetry.
There are an imaginary of beings and biomechanical artifacts that originate in dreams I had repeatedly as a child that generate my interest in artists. Those references are in painting, Max Ernst and Giorgio de Chirico. In literature, mainly science fiction, Ray Bradbury, Jorge Luis Borges and Jules Verne.
My work is also fueled by my interest in our weird and wonderful world and the question of the possibility of life beyond it. I do not seek to cause a change in the viewer, or refer to great questions of humanity; I simply work from a psychological mechanism and process that are essential for children and artists: curiosity and imagination– Oscar Barra
Oscar Barra was Born in Santiago in 1964, he studied Art at the University of Concepción, co-founder of Grisalla, an outstanding group of artists from the 90s and early 2000s. Mainly dedicated to painting, he has extended his creation to engraving, sculpture and the drawing. He currently resides between Concón and also maintains a workshop in Santiago.
Recent individual exhibitions 2018: “Agnostos Theos”, Casa Autónoma Gallery, Autonomous University of Chile, Santiago. 2018: “Paintings”, Galerie zone, Leiden, Holland. 2018: “Winter visit”, Joan of Arc Gallery, Concepción. 2016: “The extraordinary creatures of Oscar Barra”, Nescafé Theater of the Arts, Santiago. 2016: “Imaginary Zoobotany”, Artium Gallery, Santiago. 2015: “Summer Imaginary”, Prima Gallery, Santiago. 2014: “Autumn and rain”, Nemesio Antúnez Gallery, Metropolitan University of Sciences and Education, Santiago. 2013: “Strangers in paradise”, Blanc Gallery, Santiago. 2011: “Human Resources”, Cultural Corporation of Recoleta, Santiago. 2010: “The machinery of joy”, Trazos Gallery, Santiago. 2007: “Living Water”, Matthei Gallery, Santiago. 2002: “Beyond good and evil”, Matthei Gallery, Santiago. 1997: “The forgotten games”, Chilean Institute – North American, Concepción. 1995: “Paintings”, Tomas Andreu Gallery, Santiago.
Collective exhibitions and national competitions 2020: CHACO 2020, International Contemporary Art Fair Chile, online version due to pandemic. 2019: “Tarquinia Art”, inaugural exhibition at Galería Tarquinia, Concón. 2019: “The Wild Eye”, exhibition of Latin American surrealism, Bellavista, Santiago. 2015: “Art helps”, Casas de lo Matta; organized by Parenthesis Foundation. 2014: “Art helps”, Casas de lo Matta; organized by Parenthesis Foundation. 2013: “The art of signs”, ARTIUM Gallery, Santiago. 2011: “Values from diversity”, Ralli Museum, Santiago. 2011: 3rd Version International Contemporary Art Fair Chile: CHACO 2011. Casas De Lo Matta, Santiago. 2010: 2nd Version of the International Contemporary Art Fair Chile: CHACO 2010. Casas de Lo Matta, Santiago. 2010: “60 years of the General Song”. Collective exhibition in homage to Pablo Neruda. Artium Gallery, Santiago. 2009: “Stories illustrated by Artists”, Cecilia Palma Gallery, Santiago. 2009: 1st Version of the International Contemporary Art Fair Chile: CHACO 2009. Glider Club, Santiago. 2008: “The Work: art study”, sculptures, Providencia Cultural Institute, Santiago. 2005: “Metro Valparaíso” Collection, Permanent Exhibition between the Metro Stations, Valparaíso. 2000: “Around the painting”, Parque Arauco Events Center, organized by Galería La Sala, Santiago. 1993: “Proyectarte 93”, National Museum of Fine Arts, Santiago. 1993: II Biennial of Painting “Gunther Award”, National Museum of Fine Arts, Santiago. 1990: “Territory for Art”, Pinacoteca of the University of Concepción and Municipal Hall of Los Angeles.
International collective exhibitions 2011: “The Sculpture”, Adriana Indik Gallery, Buenos Aires, Argentina. 2009: “Good things come in small packages”, Círculo Azul Art Gallery, Coyoacán, Mexico City. 2000: X International Art Fair “Arte BA”, Buenos Aires, Argentina. 2008: Jadite Gallery, New York, USA. 2008: “Afternoon without cuts”, Victoria Cultural Center; Mendoza Argentina.
Exhibitions with the GRISALLA Group 2008: “Illustrations of the nonexistent”, JHH Fine Art, Connecticut, USA. 2007: “GRISALLA – A Self-visited Promise”, Pinacoteca Universidad de Concepción. 2006: “GRISALLA – Autonomous Painting”, Matthei Art Gallery. Santiago. 2000: “GRISALLA – Contemporary Chilean Painters“, Simon Patrich Gallery, Vancouver, Canada. 1999: “GRISALLA“, Matthei Gallery, Santiago. 1997: “Signs of a life”, Praxis Gallery, Santiago. 1992: “Journey to leisure, madness and death”, National Museum of Fine Arts, Santiago. 1991: “GRISALLA”, Pinacoteca of the University of Concepción.
Works in: MAVI. Museum of Visual Arts of Santiago, Chile. RALLI MUSEUM. Santiago, Chile. RALLI MUSEUM. Punta del Este, Uruguay. RALLI MUSEUM. Israel. MAM. Museum of Contemporary Art of Chiloé. Chile.
Alejandra López Riffo is an artist whose work fuses the visual arts and poetry in a perfect way. Alejandra builds an imaginary bridge that results in the beautiful hybrid of visual poetry.
An echo very few artists achieve. Possessing a technique exquisite and clean. We are introduced into imaginary worlds where birds, figures, humans, trees make a moving pact.
Sensuality is not alien to the staging of this tremendous creator who with true mastery forges dream scenarios rarely seen in Chilean art.
Alejandra López Riffo has all the ingredients to achieve a high-flying work. I have no doubt that her extraordinary sensitivity directed fantastic beings from an outstanding and unique cosmogony
Alejandra López Riffo
Alejandra López Riffo is a Visual Artist based in Santiago de Chile. She started her artistic career at the Escuela Experimental Artística. She studied Graphic Design at the Metropolitan Technological University. In 1998 she graduated in Visual Arts, Pontificia Universidad Católica de Chile. She has developed her artistic work by participating in various collective exhibitions and individual projects. In 2019 she received the second place in the XII Visual Arts Contest of the
Fobeju Foundation “Body and Place” Chile. Her participation this 2021 stands out with the First Place and winner of the “II Meeting of Women in the Visual Arts” and her Individual Exhibition “Listen quietly to what my drawings say” spread in Chile, Colombia and Mexico through the Group INTERNATIONAL MUA. She participated in the “CAMELOT” Exhibition through ESGALLERY Colombia, Call for Contemporary Latin American Art spread in Colombia, Mexico and Argentina. She currently participates in the International Exhibition Of Surrealism. Cairo – Saint Cirq Lapopie.
In 2009 I started a correspondence with Chilean painter and Surrealist Miguel Ángel Huerta Zuñiga. When I first saw his work I was surprised he was expressing a deep exploration into the animistic mind like I was. Later that year in November, Miguel invited me to join El Umbral Secreto the first Surrealist Exhibition in Latin America since 1940. Over the years we have continue to be very good friends. I wanted to share some of Miguel’s work. I also asked him a few questions that would balance his image with word.
Do you think a computer will organize our experience for us?
I don’t think so and I hope it is not so, otherwise our particularity of being part of the cosmos will have been lost
Have you experienced synchronicity?
On some occasions I have felt synchronicity, but I am not very sure that’s what it was.
What do you think the future holds for handmade art ? Do you think the image on the screen will replace the object?
I believe and hope that technology will not replace painting and sculpture because the feeling that the artist creates in talismans, in objects of power lead to another reality and that link with the cosmos will be lost.
To what extent do you think our brain will merge with a simulated or fabricated imitation of reality?
I worry that our brains will merge with faux simulated or fabricated reality. I think our relationship with the cosmos would be lost
If the notion of compassion is missing, this leads to darkness.. forgiveness is the letting go. It opens the space for the surreal.
It is living and ceasing to live that are imaginary solutions. Existence is elsewhere. What’s the need of a new manifesto if we have yet to meet the goals of the old one..
I live in balance with the Gods and they live in balance with me. The stone is compassion, not a matter what school. To know that it is. As it is, is to accept the idea. Do something about it , cause and effect… this is good alchemy.
I find inspiration and magic in François Cauvin’s works. Many of his paintings can make the viewer more open to the mysteries of nature. This begins as a desire to remember our self while dreaming.
As a native of Haiti you grew up in a family of artists, musicians and poets. Who were they and how did they inform you?
Yes. I had many artists and musicians in my family. My uncles and aunts. also my mom was a fashion and dresses maker. My sister Marie-Hélène Cauvin is a visual artist too… but first they were musicians. Major influences included composer and virtuoso pianist Ludovic Lamothe and Occide Jeanty who was a composer, trumpeter and pianist.
Le secretVille ImaginaireOpossum de MartiniqueGoddessOshunTree of LifeHispaniolan Trogon
Woman and nature are reoccurring themes in your work. what is it about those mysteries that inspire you?
Since I was raised by women, mother and sisters, I think it plays a role in my choice of painting them later I was initiate in the tradition of the Goddess of love.
I saw red and got freeL’AttenteFleur de FemmeLove GoddessDeath of the MermaidL’Attente III
How do you approach Haitian religious symbolism? is it based on traditional Vodou or your own formula to remember the universal self? or a little of both?
I think my work is based on the Haitian Vodou tradition. Since most of my work are from dreams of the spirits, messages from them. I do have dreams of my previous lives .
Fille au fanalMagical TwinsTrancePapillonLostPriere
How would describe the relationship you have with the universal mind, dreams and subconscious process? how do you find images to paint?
The images are from dreams most of the time. The ideas sometimes comes from my mind which hold and received them. They are from a place that I don’t know. You can receive images and ideas without knowing its happening.
Met TetOgunJumping Mermaid
A la recherche du bonheur perdu
in your artistic interpretation what are the crossroads, twins and snake represent?is there one archetype you consider a guide?
What I can answer for sure is that the snake is my true initiator before I was an initiate in the tradition. I dreamt once about the crossroad Master. He was skinless dancing in the air.
Two Mambos
The Queen Mother, Goddess of the broken hearts/protector of the souls This painting shows clearly, the appropriation of the old myth of Isis by the Haitian Vodou from the Catholic Church dogma.
what writers have influenced you? what other influences changed your perception of the world?
I really love the South American writers and the magic realism school. Colombian novelist, Gabriel García Márquez. Guatemalan poet, Miguel Ángel Asturias. Cuban novelist, Alejo Carpentier. Haitian writers too that include Jacques Stephen Alexis, Jacques Roumain, Laennec Hurbon, Jean Price Mars and Villard Denis. I loved reading French novelist Marguerite Yourcenar… but what really influenced me was my past in the Haitian country side and Port-au-Prince. Also what my father taught me in that time about nature and plants.
Rara King IToussaint LouvertureSanite Belair, Héroïne of the Independence war of HaïtiRara King II Blue Prints and Sketches Book Covers
Artrist François Cauvin lives between Montreal Canada and Haiti
The scientific world wonders where the boundary between matter and antimatter begins. That is, where does the surreal begin? For this we must know the secrets expressed in the Emerald Tablet, where the borders of the vibratory spaces are not represented, since they do not exist, since what is denser can become something less dense according to the laws of the variable flows of the vibratory fields. Therefore, everything is a continuum according to what modern physics has shown, a kind of manifested logos where the elusive can be a res perceived according to the capacity of the receiver.
Gears of a quantum ship, acrylic and ink on Fabriano paper, 21 x 28 cm
For the exponential curve of the logarithmic spiral to exist, there must be a logarithm that draws it, but also a mathematical equation that designs an enormous spatial support that contains it and allows it not to disintegrate as a design. We calculate what we see, but the invisible does not enter into that equation. This is how we neglect our astral bodies.
Spectacular blindness, collage s/paper, 30 x 20 cm
FAIR DAYS In a cold and stony hole a flower withers hopelessly while the world rejoices with the monk’s tricks
Flight and Music
Perpendicular imagination looming behind the divine muscle that strips of its pelagic destiny to the one that lies at the foot of its calcareous slab. With each sun 666 errata arise in the belly of the lunar word.
Emerged from nocturnal memory a pristine song embrace my origin and illuminate my soul.
Mother earth seeks the perfume of redemption while the man far in the abyss of him auscultates the night to gain objects the emptiness of having is named among the speechless faces so then the alchemical weddings were prepared without any finding for your eyes the leaves of the forest fall slowly the roar of the terrestrial kiss reaches my ears sound to be ocher dust in solar memory end of times and circular principle the appointed mystery while children are killed by hunger to continue making “Barbies”
NUMBER LEVITATION
The ancient voice from the parting of the waters what is above and what is below like pale dawn of man without the primordial exhalation roam the surface looking for a high dwelling to detach from matter the creative breath of the submerged forest under your name with their ethereal offspring like plumage swayed by the wind in their forgotten northern voices mother of desire and of rebellion clay healing tide with sporadic winged notes and tears of bears that forget the wound in sleep.
my bone wish penetrate the flesh of the shadows For a right to endorphins for every citizen
Interdimensional ossuary, Ink on cut paper and acrylic on 300gm fabriano paper
Enrique de Santiago, Born in Santiago, Chile (1961). Visual artist, poet, researcher, essayist, curator and cultural manager. He studied a Bachelor of Art at the University of Chile and at the Institute of Contemporary Art (Chile). Since 1984, he has exhibited in individual and group exhibitions, counting to his credit around more than 100 exhibitions. He has edited five books: Fragile Transits Under the Spirals in 2012, with La Polla Literaria; Elegía a las Magas and the book essay: El Regreso de las Magas, both with Editorial Varonas. In 2018 he edited La Cúspide Uránica with editorial Xaleshem and Dharma Comunicaciones, and Travel Bitácora with Editorial Opalina Cartonera. He has participated in various poetry anthologies, both in Chile and abroad. He has collaborated in the newspaper La Nación with articles on new media art, and in magazines such as Derrame, Escaner Cultural and Labios Menores in Chile, Brumes Blondes in Holland, Adamar from Spain, Punto Seguido from Colombia, Sonámbula from Mexico, Agulha de Brazil, Incomunidade de Portugal, Styxus de Rep. Czech, Canibaal de Valencia, Spain, Materika de Costa Rica and other printed and digital publications.