metáforaFlorencia San Martin Brück

metáfora

In the minds of humans exists an area called "unconscious" that produces among other things, the most creative figure: "the metaphor". The painting has a cognitive function, to process information from perception and to acquired knowledge (experience); and the metaphor is one of the bridges that enables the passage from one world to another.

En la mente de los seres humanos habita una zona llamada “inconsciente” que produce entre otras cuestiones, la mayor figura creativa: la metáfora. La obra tiene una función cognitiva, procesar información a partir de la percepción y el conocimiento adquirido (experiencia); y la metáfora es uno de los puentes que posibilita el paso de un mundo al otro.

www.fsmb-art.com

metáforaInside the studioWhat are the major themes you pursue in your work?

I approach the canvas with no models in mind, connecting to chaos, which is the basis of creation, which manifests from formless nothing to something unique. I cast light on forms previously in the shadows of the unconscious. Once the chaos has unfolded its the sensibility and reaction to color and form that gives shape to the abstract journey. The making of art is formative in coming into consciousness — “awakening”.

If you could only have one piece of art in your life, what would it be?

Any work of art from the greatest Gustave Moreau, it could be the Deva and Griffon. Moreau was a professor at Paris’ École des Beaux-Arts and among his many students were the fauvist painters, Henri Matisse and Georges Rouault. Moreau inspired surrealist artists like Max Ernst and Salvador Dalí. André Breton famously used to “haunt” Moreau’s museum and regarded him as a precursor of Surrealism.

Do you prefer to work with music or in silence?

Both. Music serves to stimulate desire just like colors, but then I forget everything around me, and I realize that I have been in solitary silence for hours listening only to the music of colors.

Who are your favorite writers?

I am constantly reading, I enjoy ancient history, art, Egyptology, I particularly enjoy reading biographies. If I had to choose a novelist I would choose Hermann Hesse because he was a companion during the troubled teen years when I was trying to understand myself (“Not that I never did”).

What was the best advice given to you as an artist?

Inspiration exists but it has to catch you working.

Agate the SphinxBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 35.4 H in (120 W x 90 H cm)

The painting depicts the Sphinx triumphs over Oedipus at the crossroads on his journey between Thebes and Delphi. The Sphinx may be seen as a form of femme fatale, a common theme in Symbolist painting. Opening poem of Buch der Leider by Heinrich Heine: Nightly I see you in dreams-you speak, With kindliness sincerest, I throw myself, weeping aloud and weak At your sweet feet, my dearest. You look at me with wistful woe, And shake your golden curls; And stealing from your eyes there �ow The teardrops like to pearls. You breathe in my ear a secret word, A garland of cypress for token. I wake; it is gone; the dream is blurred, And forgotten the word that was spoken.

L’AnnunciazioneBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

L'Annunciazione della Beata Vergine Maria o del Signore è l'annuncio del concepimento verginale e della nascita verginale di Gesù che viene fatto a sua madre Maria (per il Vangelo secondo Luca) e a suo padre Giuseppe (per il Vangelo secondo Matteo) dall'arcangelo Gabriele. Il distacco del cristianesimo dalle altre religioni avviene infatti proprio nel mistero dell'Incarnazione: in nessun altro credo è concepito un Dio che assume in sé la natura umana e la fa propria, con l'unica di�erenza della assenza di ogni forma di peccato.

BaroloBuenos Aires, summer 2014Painting, Oil on canvas. Size: 59 H x 59 W in (150 H x 150 W cm)

Italian architect Mario Palanti was commissioned to design the building by the empresario Luis Barolo, an Italian immigrant who had arrived in Argentina in 1890 and had made a fortune in knitted fabrics. The Palacio Barolo was designed in accordance with the cosmology of Dante's Divine Comedy, motivated by the architect's admiration for Alighieri. There are 22 �oors, divided into three "sections". The basement and ground �oor represent hell, �oors 1-14 are the purgatory, and 15-22 represent heaven. The building is 100 meters (330 feet) tall, one meter for each canto of the Divine Comedy. The lighthouse at the top of the building can be seen all the way in Montevideo, Uruguay. The owner planned to use only 3 �oors, and to rent the rest. When completed in 1923 it was the tallest building, not only in the city, but also in the whole of South America.

BeulahBuenos Aires, summer 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

In William Blake’s mythology, Beulah is “the realm of the Subconscious, the source of poetic inspiration and of dreams.”

Lady Blue BombayBuenos Aires, fall 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

A blue �ower is a central symbol of inspiration. It stands for desire, love, and the metaphysical striving for the in�nite and unreachable. It symbolizes hope and the beauty of things. In the book Heinrich von Ofterdingen the blue �ower symbolises the joining of human with nature and the spirit so the understanding of nature and coincident of the self is growing. In the Romantic the meaning of human was a continuation from Humanism and the Age of Enlightenment, but the focus was on the own emotions not on abstract theory. Understanding and thinking rise in the comprehension of Romantic from own individual love. Feeling is based on the self, thinking is based on the self and the development of the self leads the individual person. Also very important is contemplation. About the feeling, the thinking and contemplation personal inward cognition is possible. The process of cognition merge again with own individual love.

Breena (Tierra de hadas)Buenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

Breena, un lugar encantado, un jardín mágico dónde las hadas cuidan los secretos y tesoros del mundo… “HADA” deriva del vocablo latino fata, que a su vez procede de fatum, el Hado, el destino.Soñé vagar por bosques de palmeras cuyos blondos plumajes, al hundir su disco el Sol en las lejanas sierras, cruzaban resplandores de rubí. Del terso lago se tiñó de rosa la super�cie límpida y azul, y a sus orillas garzas y palomas posábanse en los sauces y bambús. Muda la tarde ante la noche muda las gasas de su manto recogió; del indo mar dormido en las espumas la luna hallóla y a sus pies el sol. Ven conmigo a vagar bajo las selvas donde las Hadas templan mi laúd; ellas me han dicho que conmigo sueñas, que me harán inmortal si me amas tú. Poema, Jorge Isaacs.

Clockwork UniverseBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

The "clockwork universe theory" compares the universe to a mechanical clock wound up by God and ticking along, as a perfect machine, with its gears governed by the laws of physics. What sets this theory apart from others is the idea that God's only contribution to the universe was to set everything in motion, and from there the laws of science took hold and have governed every sequence of events since that time. This idea was very popular among deists during the Enlightenment, when scientists realized that Newton's laws of motion, including the law of universal gravitation, could explain the behavior of the solar system.

FoucaultBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

Foucault currents (also called Eddy currents) are electric currents induced within conductors by a changing magnetic �eld in the conductor. These circulating eddies of current have inductance and thus induce magnetic �elds. These �elds can cause repulsion, attraction, propulsion, drag, and heating e�ects. The stronger the applied magnetic �eld, the greater the electrical conductivity of the conductor, and the faster the �eld changes, the greater the currents that are developed and the greater the �elds produced.

IntraterraBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

AGHARTA, EL REINO SUBTERRÁNEO, o La IntraTerra, por el Maestro Omraam Mikhaël Aïvanhov.Ya hace años, os hablé de este reino subterráneo llamado Agharta, donde se ha desarrollado desde hace milenios una civilización fantástica. Este reino escondido está en comunicación con la super�cie de la tierra porque existen aberturas en diferentes países del mundo: en los polos, en América del Sur, en Mongolia, en el Tibet…e incluso en Francia, en los Pirineos. Desde tiempos muy lejanos se han transmitido leyendas – sobre todo entre los pueblos nórdicos – que hablan de un país, más allá de los hielos polares, una tierra donde reina una eterna primavera. Y según una conocida tradición de la Ciencia iniciática, las auroras boreales estarían producidas por seres extremadamente evolucionados que habitan en estas regiones y por una luz que procede del centro de la tierra.

IsabelBuenos Aires, Fall 2014Painting, Oil on canvas. Size: 39.4 H x 47.2 W in (120 x 100 cm)

Isabella of Castile. So humble a visage: amongst reverent murmurs the Catholic Queen Isabella rides. How appropriate: her face a font of grace, pliant nose a sheer peak, a razor's edge of Pyreenic granite coated in cold frosts. Dash on! To forge a Kingdom as magni�cent as the mountains inherent in her blood. Eric S. Stachowiak.

Jardin des TuileriesBuenos Aires, spring 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

On October 6, 1789, as the French Revolution be an, King Louis XVI was brought against his will to the Tuileries Palace, located between the Louvre Museum and the Place de la Concorde, Paris. Queen Marie Antoinette and the Dauphin were allowed to promenade in the Jardin des Tuileries on the evening of September 18, 1791, during the festival organized to celebrate the new French Constitution, when the alleys of the park were illuminated with pyramids and rows of lanterns. How terrifying her thoughts might had been.

Justice of TrajanBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 H x 39.4 W in (120 H x 100 W cm)

The Justice of Trajan is a legendary episode in the life of Roman Emperor Trajan, basedupon Dio Cassius’ account (Epitome of Book LXVIII, chapter 10): “He did not, however, as might have been expected of a warlike man, pay any less attention to the civil administration nor did he dispense justice any the less; on the contrary, he conducted trials, now in the Forum of Augustus, now in the Portico of Livia, as it was called, and often elsewhere on a tribunal.” The legend, though indirectly, was popularized by Dante in The Divine Comedy, alluded to in the Paradise, and recounted in Purgatory, X, 73-94: The wretch appear’d amid all these to say: “Grant vengeance, sire! for, woe beshrew this heart. My son is murder’d.” He replying seem’d; “Wait now till I return.” And she, as one Made hasty by her grief; “O sire, if thou Dost not return?”—”Where I am, who then is, May right thee.”—”What to thee is other’s good, If thou neglect thy own?”—”Now comfort thee,” At length he answers. “It beseemeth well My duty be perform’d, ere I move hence: So justice wills; and pity bids me stay.

MardukBuenos Aires, winter 2014Painting, Oil on canvas. Size: 59 H x 43.3 W in (150 H x 110 W cm)

Marduk was the Babylonian name of a lategeneration god from ancient Mesopotamia and patron deity of the city of Babylon, who, when Babylon became the political center of the Euphrates valley in the time of Hammurabi (18th century BCE). In the perfected system of astrology, the planet Jupiter was associated with Marduk by the Hammurabi period. The etymology of the name Marduk is conjectured as derived from amar-Utu (“bull calf of the sun god Utu”). The origin of Marduk’s name may re�ect an earlier genealogy, or have had cultural ties to the ancient city of Sippar (whose god was Utu, the sun god), dating back to the third millennium BCE.

NDE (near-death experience)Buenos Aires, Fall 2014Painting, Oil on canvas. Size: 39.4 H x 47.2 W in (120 x 100 cm)

When I �nished painting this piece I saw a door and a cross at the bottom of the canvas that I never drew intentionally. I decided to call it NDE (near-death experience) since I feel these are my neardeath experiences that came out from my unconscious. I had my �rst near-death experience when I was a child, perhaps at the age of 4 or 5. It involved me drowning. I found out a couple of years ago, while talking to my cousin, that she actually saved my life. I later con�rmed with my parents that I drowned in a swimming-pool at night during a family gathering. All the adults where inside the house and we, the kids, were playing around the pool. I don’t know how long I was underwater drowning to the time I was tossed back out. All I know is that my father resurrect me.

SymphonyBuenos Aires, winter 2014Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

Kandinsky is believed to have had synaesthesia, a harmless condition that allows a person to appreciate sounds, colors or words with two or more senses simultaneously. In his case, colors and painted marks triggered particular sounds or musical notes and vice versa. The idea that music is linked to visual art goes back to ancient Greece, when Plato �rst talked of tone and harmony in relation to art. The spectrum of colors, like the language of musical notation, has long been arranged in stepped scales, Beethoven, who called B minor the black key and D major the orange key, or Schubert, who saw E minor as “a maiden robed in white with a rose-red bow on her chest”.

Talavera PoblanaHouston, Texas, summer 2015Painting, Oil on canvas. Size: 40 W x 30 H in (102 W x 77.5 H cm)

Inspired by the colors of Talavera pottery, in Puebla, Mexico. It is a mixture of Italian, Spanish and indigenous ceramic techniques, distinguished by a milky-white glaze, cobalt blue, yellow, black, green and orange.

VenusBuenos Aires, summer 2014Painting, Oil on canvas. Size: 59 H x 43.3 W in (150 H x 110 W cm)

Roman goddess whose functions encompassed love, beauty, sex, fertility and prosperity. In Roman mythology, she was the mother of the Roman people through her son, Aeneas, who survived the fall of Troy and �ed to Italy. Julius Caesar claimed her as his ancestor. Venus was central to many religious festivals, and was venerated in Roman religion under numerous cult titles. The Romans adapted the myths and iconography of her Greek counterpart Aphrodite for Roman art and Latin literature. In Wagner’s opera Tannhäuser, which draws on the medieval German legend of the knight and poet Tannhäuser, Venus lives beneath the Venusberg mountain. Tannhäuser breaks his knightly vows by spending a year there with Venus, under her enchantment. When he emerges, he has to seek penance for his sins.

Deux arabesquesBuenos Aires, summer 2014Painting, Oil on canvas, Size: 39.4 H x 47.2 W in (120 x 100 cm)

The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy. They are two of Debussy's earliest works, composed between the years 1888 and 1891, when he was still in his twenties. The suite is one of the very early impressionistic pieces of music, following the French visual art form. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time. Of the arabesque in baroque music, he wrote: “that was the age of the ‘wonderful arabesque,’ when music was subject to the laws of beauty inscribed in the movements of Nature herself.”

La Derrota de QuimeraBuenos Aires, spring 2014Painting, Oil on canvas. Size: 39.4 H x 47.2 W in (120 x 100 cm)

THE KHIMAIRA (or Chimera) was a monstrous beast which ravaged the countryside of Lykia in Anatolia. It was a composite creature, with the body and maned head of a lion, a goat’s head rising from its back, a set of goatudders, and a serpentine tail. The hero Bellerophon was commanded to slay it by King Iobates. He rode into battle against the beast on the back of the winged horse Pegasos and, driving a lead-tipped lance down the Khimaira’s �aming throat, su�ocated it. A Greco-Roman mosaic recently unearthed in Syria indicates that the famous medieval scene of St George and the Dragon was derived from ancient Greco-Roman depictions of Bellerophon spearing the Khimaira from the back of Pegasos.

The Siiq, path to PetraBuenos Aires, summer 2015Painting, Oil on canvas. Size: 47.2 W x 39.4 H in (120 W x 100 H cm)

It seems no work of Man's creative hand, by labour wrought as wavering fancy planned; But from the rock as if by magic grown, eternal, silent, beautiful, alone! Not virgin-white like that old Doric shrine, where erst Athena held her rites divine; Not saintly-grey, like many a minster fane, that crowns the hill and consecrates the plain; But rose-red as if the blush of dawn, that �rst beheld them were not yet withdrawn; The hues of youth upon a brow of woe, which Man deemed old two thousand years ago, Match me such marvel save in Eastern clime, a rose-red city half as old as time. John William Burgon

chaosI approach the canvas with no models in mind, connecting to chaos,

which is the basis of creation, which manifests from somethingunique to formless nothing. I cast light on forms previously in theshadows of the unconscious. Once the chaos has unfolded its thesensibility and reaction to color and form that gives shape to the

abstract journey.

www.fsmb-art.com

© 2014 Florencia San Martin Brück/Artists Rights Society (ARS), New York

Florencia San Martin Brück

www.fsmb-art.comflor@fsmb-art.com

© 2015 Florencia San Martin Brück Artists Rights Society (ARS), New York

metáforaIn the minds of humans exists an area called "unconscious" that produces among other things, the most creative figure: "the meta phor". The painting has a cognitive function, to process information from perception and to acquired knowledge (experience); and the metaphor is one of the bridges that enables the passage from one world to another.

En la mente de los seres humanos habita una zona llamada “inconsciente” que produce entre otras cuestiones, la mayor figura creativa: la metáfora. La obra tiene una función cognitiva, procesar información a partir de la percepción y el conocimiento adquirido (experiencia); y la metáfora es uno de los puentes que posibilita el paso de un mundo al otro.

Florencia San Martin Brückwww.fsmb-art.com