AR T C OMPANI ON TO
IN TR OR E ALISM AN TI THE SIS OF SU R R E ALISM BY JOSEF CL AR K G ALVE Z
I N T R OR E ALIST MI X ED MEDI A EDI TI ON W W W.I N TR OR E ALISM.C OM
Copyright Š 2018 by Josef Clark Galvez All rights reserved. No portion of this book may be reproduced mechanically, electronically, or by any other means, including photocopying, without written permission of the publisher. It is illegal to copy this book, post it to a website, or distribute it by any other means without permission from the publisher. Printed in the United States of America First Printing, 2018 www.Introrealism.com
C O N TE NT S I NTROREALI ST ART 9 AMETHY ST C OLLEC TI ON 13 AMBER C OLLEC TI ON 31 C RED I TS 50 C ONTAC T 51
INTROREALIST A R T C O M PA N I O N T O
INTROREALISM ANTITHESIS OF SURREALISM BY
J O S E F C L A R K G A LV E Z
MIXED MEDIA EDITION W W W. I N T R O R E A L I S M .C O M
INTROREALIST ART In t r o r e alis m is a p s y c ho-philosophic al approac h t o u n derstan di n g i n di vi du al u n c on s c io u s e x p e r ie n c es using princ iples int rod uc ed by Swi ss psych o an al yst C arl Ju n g . It sub s c r ib e s to th e idea t hat enc ount ers in t he unc o n sci o u s real m are val i d exper i e nc e s o f th e p e r s o n. Therefore d reams, c onsc ious i m agi n i n gs, an d m edi tati ve c on te m p lat io n s ar e j ust as import ant as our physic al , “o u ter wo rl d“ i n teracti o n s i n u n d e r s t an d in g th e operat ions of t he human mind. It f u ses co n sci o u s (ph ysi cal ) a nd u n c o n s c io u s ( p syc hic al) experienc es t oget her by f aci l i tati n g an o n go i n g, mi n d f u l d ialo g u e w ith t he inner psyc he.
T h e p r ac t ic e o f ac t iv e imaginat ion and med it at iv e co n tem pl ati o n l eads to “sym b i o sis ” o f c o n s c io u s and unc onsc ious ex perienc es. Su ch expl o rati o n s o f th e m i n d e n g ag e s o n e wit h inner d ist urbanc es suc h as lingerin g an ger, excessi ve wo rryi n g, a nd an x ie tie s . W ith p rac t ic e t his is also possible in luci d dream s. W i t h in s u c h e x e r c is es c onsc ious presenc e bec om es an “an ch o r” , co n tro l l i n g t ho u g h ts , b r e at h in g and reac t ions, allowing t he interacti o n to h appen f o r as l o n g as p o s s ib le . T h i s c o n s c io u s in t e r a c t ion wit h t he inner psyc he is part o f a pro cess C arl Ju n g re f e r r ed to as in d iv id uat ion whic h, t o put it simply, st im u l ates an i n tegrated h eal i n g e f f e c t o n a p e r s o n — bot h in bod y and in mind . In a rt , I n t r o r e alis m p resent s t he c o-operat ion bet we en co n sci o u s awaren ess an d u n c o n s c io u s e le m e n t s t hrough a c rux. A c rux is an o bject, i m age, wo rd, ph rase, e q u at io n , e tc . t h at c onnec t s physic al realit y t o unco n sci o u s en ti ti es. U su al l y th e c r u x e m e r g e s as an i mage out of ac t ive imaginat ion, al th o u gh certai n l y th i s i s n o t a r ule . I t is a c r u c ial part of I nt rorealist art as it c on du cts an o n go i n g exch an ge b e t w e e n t h e c o n s c i ous and unc onsc ious “world s“ o f th e perso n .
In t ro re alism v s. S u rre alism In t r o r e alis t e x p e r ie n c e of t he unc onsc ious is not d escri bed as “su rreal ” bu t i n f act real — only wit hin. In t r o r e alis t ar t u s e s reason and logic as guid es in expl o ri n g th e u n co n sci o u s. It a i m s to ig n ite th e spark of insight t hrough c areful presen tati o n o f
perso n al l y
l i n k e d r e v e latio n s . T h i s c o n tr ad ic t s S u r realism’ s primary t enet whic h d iscards th e u se o f reaso n , l o gi c, e v e n m o r al c o n cerns in probing t he unc onsc ious, th ereby m aki n g In tro real i sm t he an tit h e s is o f S u rrealism.
A ME T H Y S T CO L L E C TI ON It began with a lingering sense of anger, its source difficult to discern. Active imagination presented a visual “feel” of inner disturbances. It unveiled anger as a fiery red color and calmness a cool blue. The colors coalesced into purple. An Amethyst emerged. A l t ho u g h m ajo r ity o f t he art work d o c ont ain amet h ysts, th e Amethyst C ollection do e s n o t n e c e s s ar ily refer t o t he gemst one. Here, t h e wo rd “Am eth yst” al l u des to a c r e ativ e p h as e g o ne t hrough while d ealing wit h repressed an ger.
AMETHYST COLLECTION
Sc re a mi n g Dam s e lf ly The winged creature’s face resembles a specific person who displayed racist attitudes. Following Carl Jung’s theory of shadow projection, the scream in this work is a dark psychological projection in the form of a racist tirade. This artwork facilitates a conscious dialogue with the lingering anger brought on by such unconscious behavior. Dimensions: 30 x 30 x 5 in. Media: Assorted clays, acrylic, resin, crushed glass, mica, amethysts on wooden panel.
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Sc re a mi n g Dam s e lf ly ( de t a ils ) Simulating natural clusters of crystals, real amethysts sit delicately next to large flakes of mica. The gemstone adorns the creature’s wings, forehead and garb while the background surface mimics a limestone cave wall. Her placement in the vugs suggests she was trapped and, after eons, turned to stone.
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The Shadow and the Mirror Inspired by Carl Jung’s theory of shadow projection, this piece suggests the feelings of incompetence we push into the unconscious are sometimes projected as some form of character defects in others. Shadow projections often stir social tensions that could also lead to mistreatment of ‘other‘ people. Introrealist art aims to bring such unconscious patterns to better light. Bejeweled with amethysts, the rose mandala at the center of the canopy directly links to Jung’s concept of the “self“ – the unification of consciousness and unconsciousness.
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The Shadow and the Mirror (details) The mirror suggests we are gazing at our own unconscious while viewing the piece. The inkblot images on the side panels are reflections of the “shadow“ lurking in our inner psyche. Dimensions: 30 x 30 x 5 in. Media: Assorted clays, acrylic, resin, fabrics, paper, glass and metal lockets, moonstones, amethysts on wooden panel.
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Blue Wedding Created following a series of meditative contemplations that explored fears and anxieties. “Blue“ represents the color of dawn while “wedding“ suggests the unification of conscious and unconscious realms. The fossilized skeletons of creatures at the bottom represent entities feared in physical reality. Dimensions: 30 x 30 x 3 in. Media: Polymer clay, acrylic, resin, gold and silver leaf, glass paint, rough blue diamond, blue topaz, moonstone, black opal on wooden panel.
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Blue Wedding (details) Surrounded by cut, blue roses, the woman has morphed into a moth. This represents her transformation into a persona that has risen above her fears. An acrylic-pouring technique generated the marble-like motif of the wings. In this collection, the term “millepearl� refers to the cell patterns created by the pouring technique.
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Unconscious Masses — Amethyst Phase Abstraction as an artform is a fallacy of Modern and Post-modern ideas. The term denotes “existing only in thought”. But in the end abstract art are objects with form existing in physical reality. Introrealism presents abstraction as physical elements dialogically linked to “unconscious masses” through a crux. Dimensions vary. Media: Assorted clays, acrylic, resin, synthetic foam, crushed glass, mica, quartz on wooden panel.
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A M B E R CO L L E C T I O N Anticipatory grief emerged suddenly following emotional distress. For years it remained as an indistinguishable sense of gloom, a haze of worry and melancholy. At the passing of a loved one it morphed into a hooded figure that grew out of a fog of conscious imaginings. But most haunting in the apparition was the amber hue of its gold collar necklace. The Amber phase had begun. T h e Am be r C olle c t i on is a series of art work c reat ed af ter an experi en ce o n ac t i v e im ag in atio n where ant ic ipat ory grief “t ook on� a h u m an f o rm . Th e experie n c e im p ar t e d a s t r o ng impression of t he c olor amb er. Th i s co l o r th eref o re serves a s t h e c o lle c tio n ’ s primary c harac t erist ic .
AMBER COLLECTION
Confluence (Galvez Dragonfly) Artwork based on a recurring lucid dream about transformation and flying. The bejeweled figure serves as an avatar of dream persona. Near the bottom of the frame is the phrase “Let life ask the question - and you give the answer.� as uttered by a child seer in a dream. Dimensions: 36 x 36 x 3 in. Media: Polymer clay, acrylic, resin, glass paint on canvas and wooden panel.
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Lampedusa Mother Introrealist art inspired by the tragic sinking of a migrant ship near the island of Lampedusa in southern Italy. The crux in this example is the locket which shelters the woman’s unborn child. All other elements in this piece offer clues about the incident — namely that the mother had given birth while drowning as the exposed contents of shells and red backdrop show. In this example the crux is not merely symbolic of a tragedy but an active link, an ongoing connection to the sadness the story elicits.
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Lampedusa Mother (details) Various media outlets online recount the tragic event. Dimensions: 48 x 48 x 2 in. Media: Acrylic, gold leaf, mica, glass paint on canvas.
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Riot Tree
Artwork based on a lucid dream about the Ferguson, Missouri riots. The red, ant-like “growths” are the heads of people who are trying to pull down the dying tree. It suggests the act of rioting – not to be confused with protest – hastens the death of a community. Dimensions: 36 x 36 x 1.5 in. Media: Acrylic and glass paint on canvas.
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Conjuration of Spring
This piece represents the conscious and unconscious realms. The tree serves as the growth of the self after integrating one’s physical and psychical personas. Pools of blue water on the ground show reflections of characters from the unconscious. These characters call on one’s conscious self to know its unconscious parallel. Dimensions: 36 x 36 x 1.5 in. Media: Acrylic and glass paint on canvas.
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Amber Series
Supplemental artwork completed during the Amber phase. They show how a creative phase spawned by the unconscious can influence other work, even those outside the scope of Introrealist art. The color amber remains a distinguishing characteristic of this series. Therefore, although lacking cruces, these pieces belong to the Amber collection on account of thematic conformity. Dimensions vary. Media: Graphite and glass paint on wooden panel.
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Amber Series: Bonsai I and II Dimensions: 4 x 4 x 0.25 in Media: Graphite and glass paint on wooden panel.
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Amber Series: Goldfish
Attention must be directed at the key near her hand. Modeled after a famous cultural persona, Goldfish suggests she has the power to free herself from self-imposed constraints as she pleases. Dimensions: 36 x 36 x 1.5 in. Media: Acrylic, gold and silver leaf, glass paint on canvas.
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Amber Series: Koi I and II Dimensions: 12 x 12 x 0.25 in. Media: Acrylic, gold leaf, glass paint, resin on wooden panel.
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Unconscious Masses — Amber Phase
The color amber in this serires directly links to the hooded anticipatory grief figure that emerged out of the initial active imagination experience. Dimensions vary. Media: Acrylic, gold leaf, glass paint on wooden panel.
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CRE D IT S
Copy and artwork by Josef Clark Galvez 2018 St. Louis, Missouri United States of America
C O N T A CT IN F O
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