Dark Pop Surrealism
Dark Pop Surrealism
Dark Pop Surrealism
Dolls are surreal, dark and today they have come to represent perfect, endless, but also lifeless beauty. I must also add “voiceless beauty” too, since a doll doesn’t speak. I have used dolls several times in my images in the attempt to emphasize the fact that a woman in many situations is seen and treated as a doll. But, if a doll is voiceless, would images of dolls speak any sort of truth about them?
Nigredo Blackness
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Nigredo Blackness
The Catharsis of Ophelia
Nigredo Blackness. Today I looked at some of my digital paintings from the Nigredo series, and I found out that many of them were left unfinished. I was especially interested in one of those images, the one that best represents the Nigredo phase, one that has actually a lot of black matter in it, an almost entirely black and white piece.
Babel Tower Story
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The Tower of Babel
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Barbel Tower Story
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The Tower of Babel is an interesting subject from my point of view. It was reported in the Bible (Genesis 11:1-9), and it tells the story of humans that once upon a time all spoke the same language on earth. As people migrated from the east, they settled in a land called Shinar which in the Bible appears eight times and it refers to Babylonia, a territory encompassing both the city of Baylon (Babel) and the southern city Erech. Babylonia used to be a great and powerful empire.
Poisoned Ivy
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About Barbara Agreste
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Poisoned Ivy
Barbara Agreste, post surrealist artist, her artwork takes the viewer into a dreamy world full of tricky tiles, falling flowers, and sharp shards.
She blends poisoned ivy to the image of Ophelia, showcasing a doll as the best example of her strange way of conceiving beauty: never flaunting, discreet and androgynous, part of a concealed world immersed in thriving nature and cold swamps, a fragile universe of subtle ethereal pain and melancholic moods.
Barbara Agreste disseminates fallen petals, disconnected shiny leaves, and fragments of mirror along impervious paths, leading the viewer of her video art, and short films to a journey characterized by the instability of walls and floors, and by the dazing alternating colours of unsteady tiles. There is always danger in these adventures, uncanny places of hidden eyes, or architectures built with the special purpose of causing accidents to the passengers. It is nature the tricky environment, full of leaves and blood, but this natural lanscape is also magnified and remoulded: it is not a totally true vegetation that we see, but rather a genetiacally modified one, a distorted natural proliferation, reminiscent of the cinematic settings, assembled like a labirinth hiding too many things, leading to a previously arranged scene.
Never trust your eyes.
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Poisoned Ivy
About Barbara Agreste
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Fairy Doll
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Fairy Doll (Ophelia Series)
90 x90 cm
Oil on canvas
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Fairy Doll
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Dolls
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I love dolls.
If I could I would buy an entire collection of them: dolls of all kinds.
It was very interesting to discover that there are so many dolls out there in the market, just by searching on the internet I found entire forums on dolls, not Barbies, but many versions of the most refined, strange, and unusual dolls for collection.
Three years ago I bought a doll from Korea, a beautiful piece of art, and with it I made a lot of digital and oil paintings. I am still doing it, my research with the doll seems to have no end, I have infinite questions for the doll, therefore I keep photographing it.
Sublime dolls and deceit
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Sublime Dolls
Barbara Agreste, post-surrealist artist, much appreciated abroad for her VideoArt, is presenting for the exhibition “The sharing of difference” four paintings that dwell on the subtle dreamy line that separates life and death.
Her figures have no peace, and are representative of the uncertainty and anxiety of the contemporary human soul.
In Reptilica Barbara Agreste’s Symbols
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“In Reptilica i simboli
di Barbara Agreste”
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Video of the week:
“In Reptilica Barbara Agreste’s symbols”
Review by Claudia Quintieri | 18 June 2012
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Barbara Agreste loved art ever since. Her formal training begun at the art College of her town, and after that she lived in Milan for some time attending a Set Design course in Brera Academy.
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(The image above refers to the short animated film “Reptilica“)
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In 1993 she moved to the UK where at first she took contemporary dance classes, and performed in dance companies; but after two years she returned to the visual arts enrolling at the University of Kent.
Ghost
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oil on canvas
80 x 60 cm
2012
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Ghost
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Ophelia’s Pond
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Ophelia’s Pond
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oil on canvas
120 x 90 cm
2011
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Ophelia’s Pond
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