joseph scissorhands: December 2024

Leonora Carrington - The Lovers, 1987 (detail).

"That which is below is as that which is above, and that which is above is as that which is below." Under the doctrine of signatures, planet and herb, metal and deity, beast and precious stone, the months of the year and the parts of the human body were linked in subtle communion, so that one could not indeed stir a flower without the troubling of a star." - Ithell Colquhoun.

All artists and designers are alchemists of some sort, transforming their base materials of canvas, paper, metal or wood etc. into artistic outcomes that are magical or enchanting. Magic happens when you suspend belief, but as Terry Pratchett said - 'It's still magic even if you know how it's done', (A Hat Full of Sky, 2004). There is a long history of artists, prophets and shaman interested in or engaging in mystic and occult practices and depicting this in their work, using art as a bridge between the visible and the invisible worlds. This has been evidenced in cave drawings, small votive figurines or masks for ritualistic ceremonies, as well as the ancient Egyptian Book of the Dead which was made for magical purposes and included magic spells to assist in the crossing to the underworld and afterlife. Associations of art with magic continued throughout the Greek, Roman and Renaissance periods of history and more latterly with groups of artists such as the Symbolists, the Surrealists and individuals such as William Blake and Hilma af Klint a spiritualist who channelled imagery for her artwork through her spirit guides. This exhibition brings together a grouping of modern and contemporary artists whose work invokes magic, mysticism, the occult and spirituality to depict dream worlds. perhaps the most interesting gallery of artworks is on the ground floor and casts a spell on visitors either passing or peering through its window enticing them in. It contains perhaps the strongest pieces in the show by Leonora Carrington and Ithell Colquhoun. Carrington who associated with the Surrealists initially, forged her own identity in her adopted homeland of Mexico. It was in Mexico that she teamed up with artist Remedios Varo and together they studied alchemy and the mystical writings of the Mayan Popol Vuh. Carrington's painting The Lovers is set within a tented enclosure and features a couple clad in red and blue attended by an order of monks of some obscure religious sect. They are being visited by what looks like a lame hyena using walking sticks for balance, and an assortment of other otherworldly creatures. This painting is accompanied in this space by Ithell Colquhoun's painting Song of Songs which features another intense coupling of a naked duo in the landscape decked with flags. Red seems to be a significant colour in the picture as both figures are redheads, and the female wears a red necklace and red shoes, and there is a flagon of red wine with a platter of red fruits. In this room is also a mystical, alchemical diagram by Elda Cerrato. These artworks set the tone for the paintings and sculptures encountered in the Lévy Gorvy Dayan galleries in the floors above. There are some colourful surreal paintings by Eileen Agar, and some interesting ceramic lamp sculptures with facial features by one of my favourite artists Frances Upritchard. This exhibition is an interesting survey on a fascinating subject by a private gallery. It offers just a small taster of what certain artists on the theme of magic, alchemy and mysticism in art have produced. A major exhibition devoted to the theme would be very welcome. My next post will look at artists who have used aspects of alchemy in using the precious metal gold prized throughout history for its reputed magical qualities to transform their artistic outcomes.