Mimicry - Remedios Varo
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Beschreibung
A surrealist composition by Remedios Varo, depicting a figure merging with their furniture in a quiet, dreamlike interior.
Remedios Varo, a Spanish artist who spent much of her career in Mexico, created Mimicry in 1947. This work displays her characteristic approach to the surreal, where domestic settings become sites of transformation and psychological inquiry. The composition features a central female figure seated in a high-backed chair, her form merging with the furniture itself. Her dress and the upholstery share a pattern, suggesting a literal interpretation of the title. The environment is rendered with precise, thin brushwork, creating a sense of stillness that contrasts with the uncanny nature of the scene.
To the left, a wardrobe stands slightly ajar, emitting a cloud-like substance. A small chair is tethered to the wardrobe by a thin cord, while a cat-like face peers from a hole in the floorboards. To the right, a basin collects a long, flowing ribbon of fabric that rises into the air, defying gravity. These elements suggest a narrative of metamorphosis, where the boundaries between the human subject, the furniture, and the surrounding space are porous. Varo often explored themes of isolation and the search for knowledge, using alchemy and esoteric symbolism to construct her visual language.
Her technique involves a meticulous application of paint, often using fine glazes to achieve a luminous quality. The palette is dominated by warm, earthy tones, which ground the fantastical elements in a recognisable, albeit dreamlike, reality. The spatial arrangement is deliberate, with the figures and objects placed to guide the eye through the room. This piece invites the viewer to consider the relationship between the individual and their environment, questioning the stability of identity in a world where objects and people can blend into one another.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Mimicry - Remedios Varo
Artist Biography
Remedios Varo
She graduated from the Royal Academy of Fine Arts of San Fernando in 1930, one of the few women in her class. In Barcelona she fell in with the Surrealists and, through them, with the poet Benjamin Peret, who became her partner. When Paris fell, she was jailed on suspicion of espionage. After her release she and Peret boarded one of the last ships allowed to leave France, arriving in Mexico in 1941.
In Mexico City she became inseparable from the English Surrealist Leonora Carrington. Together with the photographer Kati Horna, the three were called the Three Witches. They attended meetings of Gurdjieff and Ouspensky followers, studied alchemy and Jungian dream theory, and put ink in tapioca pearls to serve as caviar at dinner parties for Octavio Paz.
She did not paint prolifically until the last thirteen years of her life, once she was financially stable and free of wartime displacement. The paintings from this period are meticulous: tiny figures in architectural spaces that obey their own physics, conducting experiments with starlight or weaving the fabric of the universe from threads pulled out of the air.
Her posthumous retrospective at the Museum of Modern Art in Mexico City in 1971 drew more visitors than shows by Diego Rivera or David Alfaro Siqueiros. She had died of a heart attack in 1963, at fifty-four, at the peak of her working life.
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