Echoes of the Invisible Indivisibly Intertwined
By Bryan Valenzuela
Limited edition of 30, signed print
14” x 20” (image size 12” x 18”)
This artwork is available framed.
This piece was loosely inspired by the myth of Daphne from Ovid's Metamorphosis. This quote from the beginning of the book in some ways sums up a lot, “Let me sing to you now about how people turn into other things.” The work here is a somewhat poetic interpretation of that built on the idea of transformation and connection to the natural world, a connection that seems to get lost in an increasingly digital world. The words used in the piece are mostly from an 8 page impressionistic narrative I wrote specifically for this series of works. The pre-written words keep me on track at any rate. I like to think of it like a jazz improvisation where a melody or theme gets stretched to its limits and pulled back again. The words are always a way for me to extrapolate and really suck the marrow from whatever concept the piece is exploring. While different pieces or series of pieces contain different metaphors, for me an overarching idea is one of mending or of things seemingly different being woven together highlighting some kind of connection. Here though, are the figures finding that connection and being transformed one into the other, or are they being absorbed or swallowed into the whole? Are either of those directions a point of joy or a point of terror?
By Bryan Valenzuela
Limited edition of 30, signed print
14” x 20” (image size 12” x 18”)
This artwork is available framed.
This piece was loosely inspired by the myth of Daphne from Ovid's Metamorphosis. This quote from the beginning of the book in some ways sums up a lot, “Let me sing to you now about how people turn into other things.” The work here is a somewhat poetic interpretation of that built on the idea of transformation and connection to the natural world, a connection that seems to get lost in an increasingly digital world. The words used in the piece are mostly from an 8 page impressionistic narrative I wrote specifically for this series of works. The pre-written words keep me on track at any rate. I like to think of it like a jazz improvisation where a melody or theme gets stretched to its limits and pulled back again. The words are always a way for me to extrapolate and really suck the marrow from whatever concept the piece is exploring. While different pieces or series of pieces contain different metaphors, for me an overarching idea is one of mending or of things seemingly different being woven together highlighting some kind of connection. Here though, are the figures finding that connection and being transformed one into the other, or are they being absorbed or swallowed into the whole? Are either of those directions a point of joy or a point of terror?
By Bryan Valenzuela
Limited edition of 30, signed print
14” x 20” (image size 12” x 18”)
This artwork is available framed.
This piece was loosely inspired by the myth of Daphne from Ovid's Metamorphosis. This quote from the beginning of the book in some ways sums up a lot, “Let me sing to you now about how people turn into other things.” The work here is a somewhat poetic interpretation of that built on the idea of transformation and connection to the natural world, a connection that seems to get lost in an increasingly digital world. The words used in the piece are mostly from an 8 page impressionistic narrative I wrote specifically for this series of works. The pre-written words keep me on track at any rate. I like to think of it like a jazz improvisation where a melody or theme gets stretched to its limits and pulled back again. The words are always a way for me to extrapolate and really suck the marrow from whatever concept the piece is exploring. While different pieces or series of pieces contain different metaphors, for me an overarching idea is one of mending or of things seemingly different being woven together highlighting some kind of connection. Here though, are the figures finding that connection and being transformed one into the other, or are they being absorbed or swallowed into the whole? Are either of those directions a point of joy or a point of terror?