Art

Hispanic heritage month: art of the esoteric – Montclair Local

Published

4 years ago

October 11, 2020

Harry Miller

“The Golden Flower” by Jorge Larrea reflects bright colors of his Hispanic heritage in Ecuador. COURTESY CLERESTORY FINE ART

Awake in Dreams: The Visual Immersions of

Jorge Larrea
Sept. 24 – Nov. 7
Clerestory Fine Art
40 Church St., clerestoryfineart.com

Artist’s talk: “Process and the Influence of Jungian Psychology and Archetypal Symbolism,” Wednesday, Oct. 14, 7-9 p.m.
Artist’s talk in Spanish: Saturday,
Oct. 24, 5-6 p.m.
José Camacho
Midland Gallery
13 Midland Ave., 973-746-4884

By GWEN OREL
orel@montclairlocal.news

At first glance you might think the two artists’ works have nothing in common: The paintings in Jorge Larrea’s “Awake in Dreams,” showing at Clerestory Fine Art on Church Street, Sept. 24 through Nov. 7, are colorful, geometric, surreal.

The canvases in José Camacho’s Midland Gallery, which is half-studio, half-frame shop, are largely monochromatic, still lives of plantains, abstracts with Spanish words.

But both artists say their work reflects their Hispanic heritage: Larrea, from Ecuador, says his bold colors are inspired by the clothes indigenous people wear in his home city of Quito.

Camacho says his work is in dialogue with work and expression of Puerto Rico.

And both artists’ works reflect the subconscious and the esoteric, as well.

PLANTAINS AND GHOSTS

José Camacho’s work has a narrative that relates to his ethnic background and his heritage. He left Puerto Rico when he was 19. He studied at Montclair State University.

For the past few years he has been working on different canvases of plantains, or canvases made of words taken from Puerto Rican literature and music.

He also bases some of his work around the elements of alchemy: fire, earth, air, water and ether. One of the paintings of the plantains is called “Ghost”; it is the one based on ether.

Unlike Larrea, he does not work as much in bright colors.

His art is always in dialogue with Puerto Rican art, as much as with American art, he said.

The island has a simple history in the arts, Camacho said. “Right now, Puerto Rico is actually opening up in the international market of the arts, with a lot of artists now venturing into galleries in New York,” he said. There is a strong culture of silk screens and printmaking.

Larrea’s work is esoteric, and Camacho’s is as well.

It’s interesting how law, history and esoteric thinking work together, he said.

There might be something about being a Spanish-speaking immigrant that is conducive to esoteric subjects, he said.

“There is a strong heritage in our indigenous backgrounds, and that’s part of the whole mysticism,” Camacho said.

One painting says “Ay bendito” over and over again, a phrase that Puerto Rican people will say to express sympathy, or anger, or other things, depending on how it’s said.

Another canvas reads “Estos trópicos tristes,” or “This sad tropics.”

The words are from “La Guaracha del Macho Camacho,” a novel written by a Puerto Rican novelist, Luis Rafael Sánchez. A guaracha is a kind of Latin rhythm, and critics say the novel itself moves to that beat, asking readers to learn what it sounds like. A disc jockey reminds readers about the guaracha from a musician named Macho Camacho, as the novel relates stories about different characters. The painting has the first lines of the book.

But the meaning lies beyond the words.

“The novel really portrays in a funny and sad way our relationship with the United States, as well as the corruption,” Camacho said. It is about assimilation, and cultural identity, themes that can also be found in his work.

‘AWAKE IN DREAMS’

Jorge Larrea’s show opened on March 12.

Clerestory owner Kathryn McGuire had a panel planned. She had been working on the launch for a year and had intended this show to be the national launch of her gallery, after its first year, which was focused on community.

The show opened for one day and then, thanks to COVID-19, had to close except by appointment only.

“It’s time,” she said at the show’s opening on Sept. 24. “It was time to relaunch it.”

The paintings are now up through Hispanic Heritage month, which started Sept. 15 and goes through Oct. 15.

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Some in Montclair may know his work: Larrea taught art at Northeast Elementary School for seven years, from 2011 to 2018.

Strikingly, many of his paintings have checkerboard-like geometrics as a background for human figures, or concentric circles.

The squares look precise, but Larrea draws them by hand. He finds it soothing, he said. “The geometry helps me to get into a different dimension.” Looking at a painting called “Will,” from 2016, he said, “You know, this is not the earth. It has to do with our minds. It takes us to a more abstracted level.”

The painting shows figures against a checkerboard-like blue and green background, wrestling. A snake crawls up a pillar. A lizard crawls up another pillar.

Some of his inspirations come to him in dreams. He doesn’t always know what is going to happen, he said.

McGuire said, “When I’ve written about this work, I often come back to this piece [Will]. It’s microcosms and macrocosms. He goes deep. He goes into this molecular level, but also

Jorge Larrea describes one of his paintings, “Light in Space.” GWEN OREL/STAFF

this broader human consciousness. To me that’s what makes his work a huge step in contemporary surrealism.”

The colors of the paintings called “In the
Beginning, Hydrogen” and “The Alchemist” are particularly bright. Larrea also uses colors as symbols in his work. Color, as little or as big as it may be, expresses so much emotion.

“I’m from Ecuador. Latin American art is very colorful. I am an art historian, and I love the Renaissance, too, and Renaissance art is very colorful,” he said. “The indigenous people wear colorful clothes, and paint with colorful pigments.”

His paintings also use images from Jungian philosophy. His figures are usually nude so they can remain symbolic, he said, rather than placed in a particular time or culture. “And because it’s all abstraction, it’s a dream world,” he said.

For Larrea the struggle is not to find the right shapes, or composition, but “getting the right colors.” Most of his colors come directly out of the tube, and he does not dilute colors with white or black to lighten or darken them. “That’s why they are so rich,” he said.

He is interested in psychology, too, and finds that the art sometimes tells him what he is feeling: a kind of therapy. “If I know what I’m going to do, then what’s the point of doing it anyways? They’re immersions. They’re explorations.” He might think, why do I need this or that figure? And then he realizes that he has a particular feeling.

McGuire said, “I understand how meditative and calming it is to make lines like this, and that precision.”

The act of making it is calming, she said. And the waviness of the circles (which do not look wavy) is part of the point — losing that control.

“It’s so satisfying,” Larrea agreed.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

5 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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