Mimicry - Remedios Varo
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
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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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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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