Saturday, August 29, 2026

Three Witches of the Surreal


"Creación de las aves (Creation of the Birds)," Remedios Varo

I first encountered the artist Remedios Varo (1908–1963) in Ling Ling Huang's latest novel, Immaculate Conception. In the book, the main character, Enka, forms a friendship (and later, obsession with) Mathilde, her art school classmate. Mathilde, sweet and fragile, stuns both Enka and her classmates with her preternatural talent. "Not only was she supremely gifted in any medium of her choice," says Enka. "But she also knew more about art than anyone, particularly in critical theory and history." 

During a freshman year icebreaker activity, Mathilde shares that her favorite artist is Remedios Varo, to the blank stares of her peers (and professor). She gushes about "the specificity with which she used tools to achieve exactly what she wanted. Sand, Masonite, decalcomania, soufflage . . . even quartz crystal sgraffito . . . nothing was off-limits. And instead of diluting her artistic language, this fluency of technique created it." 
 
I am no Mathilde, or even an Enka. My knowledge of art history can be charitably characterized as "spotty." But, when I paused my Immaculate Conception reading to look up Varo, I fell down a Surrealist rabbit hole. My conclusion? I heart Varo and wish she was not dead and was also my friend <3
 
My Review: Interesting ideas, mediocre execution

Varo, called the sorceress of Surrealism by fellow artist, Andre Breton, once said: "The dream world and the real world are the same." Fucking bars. 

Breton, a friend of Varo's, defined surrealism as a way to fully unite the conscious and unconscious experiences, to create a more complete reality: “an absolute reality, a surreality." For him, true genius was the ability of an artist to freely access their unconscious, which he viewed as the root of all creativity. Remedios Varo, by that definition, had genius in spades. 

"Woman Leaving the Psychoanalyst," Remedios Varo

What really makes her compelling is the way she tied together her artworks with her wide-spanning intellectual interests. Varo was fascinated by the spiritual world - the occult, alchemy, tarot, astrology, and mysticism. However, she also displayed deep knowledge and interest in the sciences, mathematics, and engineering. 

Art historian Tere Arcq characterized Varo's work as "trying to find the intersection between the mystical and the scientific.” You can see in her work thus inherent tension between the earthly and the spiritual, the conscious and the unconscious. 

"Hallazgo," Remedios Varo

With seeming ease, Varo integrates disparate philosophies into singular artworks. It brings to mind Lovecraft's famous quote - "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. [....] The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age." 

Skill issue, H.P.! Instead of fear, Varo seemed excited by this process of uniting realms of knowledge - melding the real and the unreal. As Julia Bozzone wrote in her NYT profile of the artist, Varo's works appeared to be "a quest to reach a higher state of consciousness." 

"Embroidering the Earth’s Mantle," Remedios Varo

Varo's search for meaning may have been, in part, a reaction to the chaos and instability of her early adulthood. She was forced from Spain, her homeland, due to the Civil War, and moved to Paris. However, World War II uprooted her life once again. Alongside many other young artists, Varo escaped to Mexico City, where she spent the rest of her life. There, Varo found community with her fellow artistic exiles, but her most notable friendship was with her fellow ex-pat Leonora Carrington. 

"Bankers in Action," Remedios Varo

Described by those who knew her as "possessed" and rebellious, Carrington was a brilliant artist in her own right and once proclaimed that she was not "not anyone's muse." Varo and Carrington seemed to draw inspiration from each other, speaking nearly every day about their projects. The two also shared an absurd sense of humor. Varo enjoyed subjecting Harrington to her "surreal recipes" (including a "caviar" which was just tapioca dyed with black ink). The poet Octavio Paz once wrote that Varo "laughs, but her laughter resonates in another world." Through her life, Varo's lovers came and went (and often overlapped) - but her friendship with Carrington remained strong through the rest of her life.  

"unknown," Leonora Carrington
 
Varo and Carrington became close with Kati Horna - another artist in exile - as well. The three shared a passion for the unconscious and mystical, drawing from similar themes in their artworks. They had something of a "shared dreamscape," drawing from parallel but overlapping mythologies in their works. Varo found in them fellow students of "true witchcraft." 
 
Untitled, Kati Horna

Over the years, Varo had become passionate about the occult. Art historians have found several spells written by Varo, some in collaboration with Horna and Carrington. These spell recipes were intended to control one's dreams, and were, according to Varo, quite effective. Varo herself identified as not a psychic per se, but as someone able to determine "relationships of cause and effect quickly and beyond the ordinary limits of common knowledge." She believed rather fervently in spririts and premonitions. 

Given their mystical interests, Varo, Carrington, and Horna came to be known as "las tres brujas," or the three witches, by others in their community. However, the three simply described themselves as a "surrogate family." Their bond seems especially poignant given how the war had left Varo isolated from her birth family. 

Untitled, Kati Horna (model: Remedios Varo; mask: Leonora Carrington)
 
The reason Remedios Varo compels me is not just her artistic talent but also her wide-ranging intellect, eclectic curiosity, and devotion to her friends. All this is to say, I like her and her witchy art :')

 

Monday, August 3, 2026

DOG ART / GOD ART

 Like many people, I tend to shy away of sentimentality, instinctively. Art of cute little babies in a basket, or like, Jesus hugging a Marine: all of that saccharine tearjerker stuff repels me. The purpose of art is to make you feel things, sure, but I cringe when art is so *transparently* emotionally manipulative. 

 All that being said, I fucking love Gary Bunt.  

"With Jesus"

Bunt was an elderly man who hailed from East Peckham, a village in kent. He painted sweet little scenes of dogs, the elderly, and Jesus, up until his death in summer 2025. Though cutesy as hell, his work is straightforward and seems Real in a way that other sentimental art doesn't, to me. 

"Let It Snow"

Looking at his biography, Bunt seems to have had a somewhat atypical artistic journey. He grew up in what he called a "happy working class family." Following in his father's footsteps, he began working in construction at the age of sixteen. His artistic interests were more musical at that time, and he used the money he earned in construction to support his pursuits as a guitarist. He played in a bunch of different bands, doing the occasional watercolor for beer money. Based on what I've been able to gather, it seems like this was a turbulent period of his life: drugs, drinking, a failed marriage.

Bunt seemingly cleaned up his act around the time of his second marriage, which would last until the end of his life. He quit drinking when his second child was born and started to seriously pursue his painting (again supported by money from his construction work). His first solo show was at the age of 41, but was shortly followed by a vocal cancer diagnosis. Bunt underwent two years of chemo and radiation, which left him permanently unable to eat solid foods. 

During his treatment, Bunt said he found himself thinking of his memories of childhood, the countryside, and his own children. His first painting out of his illness was a memory of himself, sick with measles as a child. Bunt said that, in the moment, he thought, “It’s the first time in my life I’ve really painted”.

"Westie Wind"


His art underwent a radical change after his brush with death - from Impressionistic to his now iconic naive style.  Rather than drawing what he thought was artistically significant, Bunt painted what he knew, from his life in the countryside. Figures recurred in his art - a broad and amiable seeming old man (who he called "Bert" after his father) and various dogs, following along or carried if the painted snow was too chilly for their paws.

"Bert" was meant to represent the viewer's "father, grandfather, someone they are familiar with," but also represented Bunt's self in what he imagined as his elder years. Interestingly enough, Bunt himself doesn't look much like his alter ego - he was slender (almost lanky) and clean-shaven. His own father was a broad shouldered man; maybe Bunt thought he'd look more like him as he aged.

Bert's dog changes color and breed across paintings, as Bunt said he liked "people to imagine the dog to be their dog, and name them." Again, could easily be too "cute," but Bunt's sincerity makes it work for me. 

"Grace"

One of the most charming things about Bunt's art is the little poems he wrote, to accompany several of his pieces. They're from the dog's POV and are too cute for words. The piece above had the following poem:

My Master’s been busy cooking
He’s got sausage and mash for tea
I’m in my place, saying grace
Praying there’s a sausage for me

  
Freaking delightful!
  

"Knock and It Shall Be Opened"

Though he had issues with organized religion, Bunt was a spiritual man. He build a chapel in his backyard and said that when he wasn't painting, one could usually find him praying. Despite his devout Christianity, Bunt's works present a pretty casual image of Jesus. Makes sense, as Bunt said he wanted to “make it easier for people to associate with Christ.”

"Sleep Tight"

And, yes, the dog's teddy bear has a name (Ted). 
    
I really love these works, where Bunt's humanism shines through so beautifully. On the topic of spirituality, he ones said, "Christ doesn't suffer fools gladly, but he knows what’s in one's heart and God knows I am trying."

"Feeling Blessed"

What really draws me to Bunt's works is the care behind them. The level of attention to detail. His tenderness towards the small and quiet and ordinary. Treating everyday pleasures (a dog, a walk, a nice breakfast) with great reverence.   

As an artist, I find Bunt inspirational, both for starting later in life with no formal training and for how much of himself he put in his work. Finding the beauty in YOUR life and telling it as yourself requires  bravery. Bunt's way of seeing the grace in the everyday, but also not taking it too seriously, is really marvelous. I'm a fan!


Further Reading 🐶: 

 

Wednesday, January 14, 2026

Lydia Davis time baby!!!!!!!!!

This may contain: the moon is shining in the sky above some trees
a walk at dusk by caspar david friedrich (detail)

 
 
A Few Things Wrong With Me by Lydia Davis
 
He said there were things about me that he hadn’t liked from the very beginning. He didn’t say this unkindly. He’s not an unkind person, at least not intentionally. He said it because I was trying to get him to explain why he changed his mind about me so suddenly.

I may ask his friends what they think about this, because they know him better than I do. They’ve known him for more than fifteen years, whereas I’ve only known him for about ten months. I like them, and they seem to like me, though we don’t know each other very well. What I want to do is to have a meal or a drink with at least two of them and talk about him until I begin to get a better picture of him.

It’s easy to come to the wrong conclusions about people. I see now that all these past months I kept coming to the wrong conclusions about him. For example, when I thought he would be unkind to me, he was kind. Then when I thought he would be effusive he was merely polite. When I thought he would be annoyed to hear my voice on the telephone he was pleased. When I thought he would turn against me because I had treated him rather coldly, he was more anxious than ever to be with me and went to great trouble and expense so that we could spend a little time together. Then when I made up my mind that he was the man for me, he suddenly called the whole thing off.

It seemed sudden to me even though for the last month I could feel him drawing away. For instance, he didn’t write as often as he had before, and then when we were together he said more unkind things to me than he ever had before. When he left, I knew he was thinking it over. He took a month to think it over, and I knew it was fifty-fifty he would come to the point of saying what he did.

I suppose it seemed sudden because of the hopes I had for him and me by then, and the dreams I had about us — some of the usual dreams about a nice house and nice babies and the two of us together in the house working in the evening while the babies were asleep, and then some other dreams, about how we would travel together, and about how I would learn to play the banjo or the mandolin so that I could play with him, because he has a lovely tenor voice. Now, when I picture myself playing the banjo or the mandolin, the idea seems silly.

The way it all ended was that he called me up on a day he didn’t usually call me and said he had finally come to a decision. Then he said that because he had had trouble figuring all this out, he had made some notes about what he was going to say and he asked me if I would mind if he read them. I said I would mind very much. He said he would at least have to look at them now and then as he talked.

Then he talked in a very reasonable way about how bad the chances were for us to be happy together, and about changing over to a friendship now before it was too late. I said he was talking about me as though I were an old tire that might blow out on the highway. He thought that was funny.

We talked about how he had felt about me at various times, and how I had felt about him at various times, and it seemed that these feelings hadn’t matched very well. Then, when I wanted to know exactly how he had felt about me from the very beginning, trying to find out, really, what was the most he had ever felt, he made this very plain statement about how there were things about me that he hadn’t liked from the very beginning. He wasn’t trying to be unkind, but just very clear. I told him I wouldn’t ask him what these things were but I knew I would have to go and think about it.

I didn’t like hearing there were things about me that bothered him. It was shocking to hear that someone I loved had never liked certain things about me. Of course there were a few things I didn’t like about him too, for instance an affectation in his manner involving the introduction of foreign phrases into his conversation, but although I had noticed these things, I had never said it to him in quite this way. But if I try to be logical, I have to think that after all there may be a few things wrong with me. Then the problem is to figure out what these things are.

For several days, after we talked, I tried to think about this, and I came up with some possibilities. Maybe I didn’t talk enough. He likes to talk a lot and he likes other people to talk a lot. I’m not very talkative, or at least not in the way he probably likes. I have some good ideas from time to time, but not much information. I can only talk for a long time when it’s about something boring. Maybe I talked too much about which foods he should be eating. I worry about the way people eat and tell them what they should eat, which is a tiresome thing to do, something my ex-husband never liked either. Maybe I mentioned my ex-husband too often, so that he thought my ex-husband was still on my mind, which wasn’t true. He might have been irritated by the fact that he couldn’t kiss me in the street for fear of getting poked in the eye by my glasses — or maybe he didn’t even like being with a woman who wore glasses, maybe he didn’t like always having to look at my eyes through this blue-tinted glass. Or maybe he doesn’t like people who write things on index cards, diet plans on little index cards and plot summaries on big index cards. I don’t like it much myself, and I don’t do it all the time. It’s just a way I have of trying to get my life in order. But he might have come across some of those index cards.

I couldn’t think of much else that would have bothered him from the very beginning. Then I decided I would never be able to think of the things about me that bothered him. Whatever I thought of would probably not be the same things. And anyway, I wasn’t going to go on trying to identify these things, because even if I knew what they were I wouldn’t be able to do anything about them.

Late in the conversation, he tried to tell me how excited he was about his new plan for the summer. Now that he wasn’t going to be with me, he thought he would travel down to Venezuela, to visit some friends who were doing anthropological work in the jungle. I told him I didn’t want to hear about that.

While we talked on the phone, I was drinking some wine left over from a large party I had given. After we hung up I immediately picked up the phone again and made a series of phone calls, and while I talked, I finished one of the leftover bottles of wine and started on another that was sweeter than the first, and then finished that one too. First I called a few people here in the city, then when it got too late for that I called a few people in California, and when it got too late to go on calling California I called someone in England who had just woken up and was not in a very good mood.

Between one phone call and the next I would sometimes walk by the window and look up at the moon, which was in its first quarter but remarkably bright, and think of him and then wonder when I would stop thinking of him every time I saw the moon. The reason I thought of him when I saw the moon was that during the five days and four nights he and I were first together, the moon was waxing and then full, the nights were clear, we were in the country, where you notice the sky more, and every night, early or late, we would walk outdoors together, partly to get away from the various members of our families who were in the house and partly just to take pleasure in the meadows and the woods under the moonlight. The dirt road that sloped up away from the house into the woods was full of ruts and rocks, so that we kept stumbling against each other and more tightly into each other’s arms. We talked about how nice it would be to bring a bed out into the meadow and lie down on it in the moonlight.

The next time the moon was full, I was back in the city, and I saw it out the window of a new apartment. I thought to myself that a month had passed since he and I were together, and that it had passed very slowly. After that, every time the moon was full, shining on the leafy, tall trees in the back yards here, and on the flat tar roofs, and then on the bare trees and snowy ground in the winter, I would think to myself that another month had passed, sometimes quickly and sometimes slowly. I liked counting the months that way.

He and I always seemed to be counting the time as it passed and waiting for it to pass so that the day would come when we would be together again. That was one reason he said he couldn’t go on with it. And maybe he’s right, it isn’t too late, we will change over to a friendship, and he will talk to me now and then long distance, mostly about his work or my work, and give me good advice or a plan of action when I need one, then call himself something like my “éminence grise.”

When I stopped making my phone calls, I was too dizzy to go to sleep, because of the wine, so I turned on the television and watched some police dramas, some old situation comedies, and finally a show about unusual people across the country. I turned the set off at five in the morning when the sky was light, and I fell asleep right away.

It’s true that by the time the night was over I wasn’t worrying anymore about what was wrong with me. At that hour of the morning I can usually get myself out to the end of something like a long dock with water all around where I’m not touched by such worries. But there will always come a time later that day or a day or two after when I ask myself that difficult question once, or over and over again, a useless question, really, since I’m not the one who can answer it and anyone else who tries will come up with a different answer, though of course all the answers together may add up to the right one, if there is such a thing as a right answer to a question like that.