Annie Zamero
Home | Paintings | Drawings | Mixed Media | Artist's Statement & CV | Links | Contact
About Me
ARTIST'S STATEMENT ~ ANNIE ZAMERO
"I hope (the images) may crystallise a mood or sum up an attitude ...or, even better.....(make) you laugh..." Gerald Scarfe, 'Drawing Blood'.
My paintings consider opposites in the form of irony and satirise public figures set in an art historical context. Therefore humour is an important element in the work. Like George Condo I think that painting can be both challenging and comedic; Condo asks us to consider how absurd a painting can be and yet be 'serious'. I share his sense of the ridiculous and strive for a convergence of gravitas and the cartoon. Satire can also be serious, and like Gerald Scarfe I am interested in using satire to uncover aspects of my chosen subjects that they would rather not reveal as part of their public persona.
Using art historical references with contemporary subjects brings art history into modernity, giving it a contemporary relevance. It also steeps the modern within the richness of painting tradition, echoing the characters of times long past and linking with their lives and dramas. Also it involves the idea of the political cartoon as a piece of fine art. My main inspiration comes either from looking at old masters or from seeing media images of a public figure. I am particularly interested in the Baroque period for its sense of drama, and more recently the Rococo period for its flamboyance. The public figures are selected because of their personal power; they are often iconic figures.
My methodology involves photographing myself or others dressed in the costume of the chosen character; this increases my sense of personal involvement and helps to identify with the subject, enhancing the facility for character and expression. It also involves my adopting the physicaI pose of the subject which is a technique proposed by Cecil Collins and which I learnt from his protoge Ruth Eisenhardt who continued his teachings after his death. In her classes we would hold the pose of the model whilst listening to music and this 'locked' the muscle positions and tensions into the subconscious which greatly informed the rapid spontaneous drawings that followed and that I use in my preparation.
Other Influences are John Currin for "creating" people (using contemporary magazine photos in an art historical context), Rembrandt for character and costume and Mauritzio Cattelan for the political cartoon as fine art. Also of contextual relevance is Alison Jackson for satirising public figures.
I have also considered opposites as conflict in the form of terrorism. However, I then read "Tales of Power" by Carlos Castenada which is about becoming a warrior or person of great power, capable of magical feats, for which perfect inner balance is essential. This led to the idea of the terrorist as a warrior, but in the mystical sense. It also led to considerations of inner conflict and Carl Jung's ideas of the psyche. Jung suggests inner conflict is due to opposing forces setting up a tension in the psyche ("Memories, Dreams, Reflections"). Fusing these ideas together I began the "Warrior" series of photomontages.
The cave-like landscapes represent the inner world in Jungian terms while the terrorist-like and cupid figures are opposites in opposition. The different stages of embryos/foetuses represent stages of personal development. Abnormal foetuses refer to both Jung and Castenada's experience of horrors to be overcome on the path of personal development. Water in the imagery suggests the need for a reflective state of mind for development of the psyche.
Influences are Jurgen Klauke (masked terrorists in his "Antlitze" series, 1972), George Grosz (political collage), Henry Moore (drawings of masked /bandaged figures) and Raphael (cupids from "Triumph of Galatea", 1511). Of contextual relevance is Mariko Mori ("Esoteric Cosmos", 1996).
CURRICULUM VITAE ~ ANNIE ZAMERO"I hope (the images) may crystallise a mood or sum up an attitude ...or, even better.....(make) you laugh..." Gerald Scarfe, 'Drawing Blood'.
My paintings consider opposites in the form of irony and satirise public figures set in an art historical context. Therefore humour is an important element in the work. Like George Condo I think that painting can be both challenging and comedic; Condo asks us to consider how absurd a painting can be and yet be 'serious'. I share his sense of the ridiculous and strive for a convergence of gravitas and the cartoon. Satire can also be serious, and like Gerald Scarfe I am interested in using satire to uncover aspects of my chosen subjects that they would rather not reveal as part of their public persona.
Using art historical references with contemporary subjects brings art history into modernity, giving it a contemporary relevance. It also steeps the modern within the richness of painting tradition, echoing the characters of times long past and linking with their lives and dramas. Also it involves the idea of the political cartoon as a piece of fine art. My main inspiration comes either from looking at old masters or from seeing media images of a public figure. I am particularly interested in the Baroque period for its sense of drama, and more recently the Rococo period for its flamboyance. The public figures are selected because of their personal power; they are often iconic figures.
My methodology involves photographing myself or others dressed in the costume of the chosen character; this increases my sense of personal involvement and helps to identify with the subject, enhancing the facility for character and expression. It also involves my adopting the physicaI pose of the subject which is a technique proposed by Cecil Collins and which I learnt from his protoge Ruth Eisenhardt who continued his teachings after his death. In her classes we would hold the pose of the model whilst listening to music and this 'locked' the muscle positions and tensions into the subconscious which greatly informed the rapid spontaneous drawings that followed and that I use in my preparation.
Other Influences are John Currin for "creating" people (using contemporary magazine photos in an art historical context), Rembrandt for character and costume and Mauritzio Cattelan for the political cartoon as fine art. Also of contextual relevance is Alison Jackson for satirising public figures.
I have also considered opposites as conflict in the form of terrorism. However, I then read "Tales of Power" by Carlos Castenada which is about becoming a warrior or person of great power, capable of magical feats, for which perfect inner balance is essential. This led to the idea of the terrorist as a warrior, but in the mystical sense. It also led to considerations of inner conflict and Carl Jung's ideas of the psyche. Jung suggests inner conflict is due to opposing forces setting up a tension in the psyche ("Memories, Dreams, Reflections"). Fusing these ideas together I began the "Warrior" series of photomontages.
The cave-like landscapes represent the inner world in Jungian terms while the terrorist-like and cupid figures are opposites in opposition. The different stages of embryos/foetuses represent stages of personal development. Abnormal foetuses refer to both Jung and Castenada's experience of horrors to be overcome on the path of personal development. Water in the imagery suggests the need for a reflective state of mind for development of the psyche.
Influences are Jurgen Klauke (masked terrorists in his "Antlitze" series, 1972), George Grosz (political collage), Henry Moore (drawings of masked /bandaged figures) and Raphael (cupids from "Triumph of Galatea", 1511). Of contextual relevance is Mariko Mori ("Esoteric Cosmos", 1996).
SELECTED F0R
2012: The Other Art Fair, Ambika P3, Marylebone Road, London NW1. Selected by Ian Rosenfeld, Director Rosenfeld Porcini
Gallery, Francesca Gavin, Visual Arts Editor, Dazed and Confused, Edward Lucie-Smith, art critic and writer and James
Hopkins, artist.
2012: Affordable Art Exhibition Vol 4, The Vibe Gallery, London, SE16. Selected by Mark Bean, Director Vibe Gallery.
2012: 'Elizabethan Avant- Garde', Bermondsey Project, London SE1. Selected by Edward Lucie-Smith and Charles Thomson.
2011: 'Connection Point London' Bermondsey Project Space, London SE. Selected by Edward Lucie Smith and Max Presneill of
the Torrence Art Museum, Los Angeles.
2011: Parallax Art Fair, La Galleria, Pall Mall, London SW1, selected by Gayane Umerova, Sothebys (UK) Ltd.
2011: 'Enemies of Art', Lauderdale House, London N6. Selected by Charles Thomson and Edward Lucie- Smith
2010: Independent Liverpool Biennial, View Two Gallery, Liverpool. Selected by Ken Martin, Director View Two Gallery and
Charles Thomson.
2008: European Capital of Culture Festival, View Two Gallery, Liverpool. Selected by Ken Martin, Director View Two Gallery and
Charles Thomson.
2007: 'A' Gallery, London, SW19. Selected by Frasier Kee-Scott, Director 'A' Gallery
2007: Novas Summer Show, Novas Gallery, London, NW1. Selected by Novas Gallery.
2007: Salon Des Arts Summer Show, 191 Queens Gate, London SW7. Selected by Peter Templeton, R.A. and Danielle Dodd,
Director of Salon Des Arts.
2006: Islington Art and Design Fair, Candid Galleries, London, N1. Selected by Candid Arts Trust.
GROUP EXHIBITIONS
2012: 'Major Arcana', Islington Arts Factory, London N7
2012: Bow Arts Open, Bow Arts Trust, Bow Road London E3
2012: 'The Magma Group' -'Fusion', Apricot Gallery, The Rag Factory, London E1
2011: International Artspace, Adzac House Museum, PARIS
2011: 'The Future Crayon', George Tavern Arts Centre, London E1
2010: 'Remodernist Show', Lauderdale House, London N6
2010: Artspace Galleries, Maddox Street, London W1
2010: Private Auction at the home of Tom Conti, London NW3
2010: 'Under the Cover of Romantic Anonymity', Ash-In-Art Gallery, ATHENS
2009: Matisonn Burgin Gallery, London, EC2
2009: Stoke Newington Fringe Festival, Praxis Warehouse, London, N16
2009: West-Eleven-Gallery, London, W11
2009: Islington Arts Factory, London, N7
SOLO EXHIBITIONS
2011: 'Politics and Royals', Lauderdale House, London N6
2009: 'Comedic and Gravitas', Levitski Gallery, London E5
2007: The Salon des Arts, London, SW7
CURATOR FOR EXHIBITIONS
2012: 'The Magma Group'-'Fusion', Apricot Gallery, The Rag Factory, London E1
2009: 'Stuck on Painting', West-Eleven Gallery, London W11
OTHER ACTVITIES
2012: Directed, choreographed and participated in The Magma Group Mime Performance at The Other Art Fair
(Video on You Tube)
2012: Talk at Parallax Art Fair:- "Forming an Artists' Collective", Chelsea Old Town Hall, Kings Road, London SW3
2012: Directed The Magma Group's Public Performance at Tate Modern (Video on YouTube)
2011: Founded The Magma Group (www.themagmagroup.co.uk) an International Exhibiting Group
COLLECTIONS
Dean Hall, Impasto Art Management, Clerkenwell, London
Elizabeth Layfield, Land Agents, Mayfair, London
Tim Clarke, Morgan Stanley Bank, Hong Kong
Steve Abrahams, London
Elsa Dax-Kerr, Paris
PUBLICATIONS
Dr Chris Barlow, 'Proem:1819: Diatogue' Exhibition Catalogue, 2012
Dr Chris Barlow, Gayana Umerova, Parallax Art Fair Catalogue,2011
Cristina Pedreira, 'Connection Point London'
www.cristinapedreira.com/.../connection-point-london-this-years-show 2011
Dr Robert Janas, Edward Lucie-Smith, Charles Thomson, 'Enemies of Art' Victoria Press, 2011
Odysseus Yakoumakis, Exhibition Catalogue, published by Ash-in Art, May 2010
Charles Thomson, 'An Antidote to the Ghastly Turner Prize' Victoria Press, 2010
Dr Robert Janas, 'Stuckism International' Victoria Press, 2009
'Gallery 5 Exhibitions' Art in London Magazine, Spring 2009
Simon Wroe: 'You Can Go Stick It!' Islington Tribune, February 27, 2009
Lee Levitt, 'What is it Good For?' Independent Newspaper Reviews, December 12, 2007
Lee Levitt, 'Artist Draws our Attention to Peace' Hampstead and Highgare Express, News in Brief, November 21, 2007
Vesna Petkovic, 'Religion Art and War' Exhibition Catalogue published by The Salon des Arts in association with Lyndons Arts Trust and Pro Art, December 2007