ASTRONOMY TO GASTRONOMY: CRYSTAL UNIVERSES

ASTRONOMY to GASTRONOMY

‘CRYSTAL UNIVERSES’

CATALYSTS

Artist and Author: ALETA MICHALETOS 2011
Copyright reserved

Change is the dominating ingredient as well as an irrevocable and inevitable consequence of life. Paradoxically, the inhabitants of Mother Earth have on the one hand, never stopped reeling from these consequences and effects of change, and on the other hand, the foundation and structure of the Universe remain unfailingly consistent and solid.

Soon after the birth of my 4^th child and last born in 1986, I became aware of a sharpened focus on and interest in, that which is not immediately apparent. I became conscious of the mysterious and subtly veiled enigmas and paradoxes which saturate our lives and this, resulted in the ‘ALETHEA’ series. http://www.aletamichaletos.com/gallery/Alethea

Then, in 1994, directly following my reception of the UN Art and Philatelic Award in New York, a large portion of my creative endeavor was dedicated to the visual exploration of our ‘parallel Universes’ and these ideas have been continuously developed through my ‘COSMORGANIC’ http://www.aletamichaletos.com/gallery/Cosmorganic 

and 'ECORGANIC’ 
http://www.aletamichaletos.com/gallery/Ecorganic series. 
 

I attempt to creatively illuminate that which weaves all particles together – that which creates the fabric of the Universe, instinctively and subconsciously unraveling and unveiling the primordial pattern or mold from which all things originate.

The request from Chantel Dartnall (Restaurant Mosaic) to interpret and visually portray the theme of ‘Salt’ to adorn the Autumn Menu of Restaurant Mosaic in 2011, acted as the necessary catalyst for yet another subtle divergence, resulting in the expansion of the scope of my series which now also includes ‘CRYSTAL UNIVERSES' & 'ICE & SPICE GALAXIES’. This theme will most probably result in an elaborate series of paintings and drawings.

Initially, I was filled with bravado as I attempted to conceptualize the crystallization of such an immense theme as ‘salt’ but I was soon humbled by the vastness of what I was confronted with. Here I was trying to grasp the ultimate paradox! I was confronted with that which, if it is not in perfect equilibrium, spells either life or death.

That which has to be used in subtle balance and which in overdose acts as an emetic or as contradiction, (and which is common knowledge) an enhancer of flavor and palatability! I realized I was merely scratching the surface of the reservoir of invisible subject matter.

The microscopic beauty of that, which is initially visible but magically disappears once it is added to food during the preparation process, as well as its subtle yet immense power over the ultimate success of the outcome of a dish, has become my point of focus.

That is exactly where my interest lies, that which exists and exerts power but is invisible to the eye.

Now it delights me to draw your attention to a microscopic view (which I have macroscopically enlarged) to enable you to also visually and aesthetically appreciate, that which you can only taste.

Depending on their symmetry, crystals fall into 7 classifications which create the ‘Crystal System’ and a ‘Crystal Lattice’, is a network of fixed points about which ions, atoms or molecules form a crystal vibrate- bejeweled crowns to adorn the heads of Fairy queens….

These delicate Universes immediately reminded me of the dainty dishes Chantel Dartnall so carefully creates, as well as the tiny networks and links in computer grids…..

I present the aquarelle as a Talisman. It becomes a catalyst for the imagination to run riot, masquerading as a delicate fishing rod cast into the recesses of the mind, where tiny shreds and tit bits of secret and stored data is gently coaxed from their hiding places, to evoke a banquet of images to enrich our senses.

How can one not but be spirited away by visions of intricate mosaics adorning the baths of Pompeii, or of archaic, torn maps and the ancient routes that were followed and by which salt was transported in exotic, distant lands? We are fascinated by the ground plans of antiquity which conjures the pyramids, lost temples and shrines where elaborate dishes were prepared for princes and pashas, or sacrificed to the gods.

As in a game of chance, where the dice is thrown or the die is cast, the randomness of salt crystals scattered, remind one of a miniature version of the constellations in the Universe. Ingredients are patiently diced and ‘randomly’ arranged on our plates the way an artist would subconsciously mix colors on a palette.

 

Autumn is somewhere between…..

It is in between Summer and Winter, ranging from the Autumnal Equinox to the Winter Solstice.

and salt?

Its effects range between bland or zesty,

preservation or decay.

The pendulum is gently swaying from Astronomy to Gastronomy….. and back again….

Autumn is a period of maturity verging on decline… a mood, a whiff of decadence lingering in the air….

Autumn, also known as Fall….. evokes images of leaves floating from branches that reach into a mellow sky and waft down lazily, sinking into the deep mulch covering the fertile soil and mirrored by the minute quantities of delicate salt crystals that are measured and sprinkled, scattering like Fairy dust, into the warm dishes where they dissolve and work their magic, quickening the senses and taste buds.

Tiny, randomly scattered dots and spots conjure up the notes on a musical score as well as the various subtle notes and flavors produced by salt and which it is capable of eliciting and extracting from ingredients.

The notes suggest and reveal the characteristics of quality, mood and atmosphere which desire to be observed with infinite care and indulged in through the pure poetry of the dining experience.  (Aleta Michaletos 2011)

www.aletamichaletos.com

'PRECIOUS CIRCLE' (1989-1994)

In 1989, I conceived the idea of ‘Precious Circle’. This was in direct contrast to the ‘vicious circle’, which was unfolding in South Africa at that stage and all the negative events portrayed in the South African press on a daily basis, over a long period of time.

It is intrinsic to my nature to try and salvage something from even the most sombre scenarios, by discovering the positive aspects to it.

After days of deep thought and introspection, I decided to make the ‘enemy’ my ‘friend’!  From now on, instead of criticizing what I read in the Press, or allowing it to influence my psyche, I would take responsibility for what I focused on and what I thought.  My philosophy was that my ‘new’, positive thoughts would influence my actions and following that, my actions would influence society.  This idea, multiplied, could change a complete society as we know it! Daily I became more passionate and energized as I realized the tremendous and far-reaching potential and transforming energies, of ‘Precious Circle’.

Every single day, I made clippings of the positive headlines reflected in South African newspapers and magazines.  These words were eventually sorted into different categories.  Aesthetic collages where then created from these clippings, each portraying a different inspirational theme, such as ‘happiness’, ‘hope’, ‘winning’, ‘beauty’, ‘peace’, ‘dreams’, ‘religion’, ‘morality’, ‘joy’ and ‘peace’.

    

When I started the project, events were unpredictable and the scenario was changing so rapidly, that no one knew with certainty, what the future would hold. At this stage, Nelson Mandela was still in jail.

Although I had no idea where the project was leading me to, I had absolute faith in its power to transform and attract, as I was gradually becoming aware of unexpected and increasing ‘blessings’ that were manifesting in my life.  One such ‘blessing’ was an unexpected invitation to present a retrospective exhibition at the Schloss Ettlingen, in Germany, 1991.  (Up to now, hardly a pipe–dream for even the most well-known South African artists)  I was developing an uncanny conviction that my ‘daily ritual’ was positively ‘magnetizing’ me.

During a very bleak period in South African History, ‘Precious Circle’ became my personal contribution to finding sparks of hope, by literally ‘reading between the lines’.  I was totally committed to perform my daily task until I received a definite ‘sign’ to discontinue my daily practice.

Every day, with painstaking attention to detail, sheer perseverance and almost superhuman effort and discipline, I continued my quest.

Sometimes, out of sheer desperation, I would take a negative word such as ‘unhappy’, cut off the ‘un’ and triumphantly preserve the ‘happy’ and likewise ‘unlucky’ would become ‘lucky!
Concentrating on the ‘positive’ and ‘optimistic’ in a time such as this was like a continuous prayer or meditation and it brings to mind the words of Chagall: ’Work is my prayer’. ‘Precious Circle’ documents the hopes, dreams and aspirations of a whole society caught up in a process of inevitable change, during a crucial time in South African history.  Although ‘Precious Circle ‘has a timeless and universal message, it is vital to contemporary history and its power lies in its simplicity.

A strong sense of color and balance marks each of the thought provoking collages of which the end result reminds one of a carefully constructed puzzle, where the smaller parts fit together perfectly.

The events of May 10, 1994 (the day Nelson Mandela was inaugurated as President), was ‘the sign’ that I was waiting for! Miraculously, the newspapers of 10 May and 11 May reflected and contained all the positive words I had been searching for, for the past 6 years!  At last, the ‘Circle’ had completed itself, resulting in 50 collages, spanning a monumental 22 meters.
During June and July of 1994, I held an unusual dual exhibit at the Pretoria Art Museum.  The one part consisted of a long wall where ‘PRECIOUS CIRCLE’ took pride of place and the second, complimentary exhibit was titled: ’DRAWING ATTENTION TO TRANSFORMATION & REGENERATION’. The latter consisted of a series of drawings and watercolors reflecting the internal and external process of change experienced by every South African. ’REBIRTH’ was included in this remarkable series.  It symbolizes the opposing forces, which are reconciled in Nelson Mandela.

A museum official coaxed me into entering a competition for the ‘United Nations Art and Philatelic Award’.  ’Rebirth’ was the winning piece and thereby miraculously propelled me into joining the ranks of Dali, Chagall, Miro, Warhol and Vasarely, (some of the previous contributors).

From this experience I have learned that ‘luck’ is: when being prepared, meets with opportunity.

The 50th and last collage, created entirely from all the positive words as reflected in the press on 10 May and 11 May 1994.
Fine art prints are available
contact Aleta: aleta@aletamichaletos.com
website: www.aletamichaletos.com

'REBIRTH' (NELSON MANDELA PORTRAIT 1st)

3 PORTRAITS OF MANDELA

Conceived and executed by Aleta Michaletos in 1994

 As part of a solo exhibition titled ‘Drawing Attention to Transformation and Regeneration’, which I held at the Pretoria Art Museum in 1994, I conceived and executed a symbolical portrait of Nelson Mandela, titled ‘Rebirth’. In the same year, ‘Rebirth’ earned the ‘United Nations Art and Philatelic Award’, which was bestowed upon me in October 1994, at the U.N. Headquarters in New York.

I will detail the thought processes behind the artwork as well as that of the two additional portraits that followed. All three portraits were exhibited at the U.N. Headquarters in 1994.

I found myself increasingly fascinated by the ‘conflict’ and paradox, surrounding Mandela. This political giant had spent 27 years, (during the prime of his life), jailed as a terrorist. Yet, the same man, earned the respect and admiration of the world …… he received the Nobel Prize for Peace!

In the painting, ‘Rebirth’, this mental ‘conflict’ is symbolically represented as follows:

7 Yellow ‘Doves of Peace’ fly from left to right and a ‘Black Hawk’, swoops from right to left. Mandela's head (the features highlighted in green,) acts as ‘arena’ for the ‘conflict’. At last, here is a MAN in whom the opposing forces are reconciled! These images are superimposed, one upon the other. If it were not for the three colors that differentiate the separate images, green, black and yellow (the colors attributed to the ANC), the artwork would simply be an unintelligible jumble of lines.

On closer inspection we note that this image of Mandela subtly suggests the outline of Southern Africa and the wings of the doves and hawk that crown his portrait, could well be ‘laurel leaves’.

The talons and beak of the hawk fall out of the main portrait and suggest that ‘force and violence’ no longer plays a part in his life. Only dynamic power and strength of character remain.

A comment made by a pastor from Soweto, moved me deeply. He was curious as to how I knew that the ’Hawk ’was a symbol synonymous with Mandela. ‘A hawk does not eat what it finds…it finds what it wants!’

My daily search for and collection of positive words for ‘Precious Circle’, installed a habit in me that has become a ‘blue-print’ for the way I conduct my life. I have named it my ‘catch-of- the-day’.

Part of my daily ‘catch’ is the ‘word-of-the-day’ which Wikipedea delivers into my Inbox every day.

On the 16^th May 2009, the word was ‘GREEN-MAN’, which describes ‘a sculpture, drawing or other representation of a face surrounded by or made from leaves.

Primarily ‘GREEN-MAN’ is interpreted as a symbol of ‘REBIRTH’ or Renaissance, representing the cycle of growth being reborn anew each Spring Remarkably, I was not aware of this concept until I recently read about it! Uncannily my portrait of Mandela is predominantly ‘green’, the ‘feathers’ can be mistaken for foliage and to top it all, it is titled ‘REBIRTH’!

Through these unexpected revelations even I have become a student of my own work.

A comment made by a pastor from Soweto, moved me deeply. He was curious as to how I knew that the ’Hawk ’was a symbol synonymous with Mandela. ‘A hawk does not eat what it finds…it finds what it wants!’

Fine art prints are available, contact: Aleta aletam@icon.co.za 
www.aletamichaletos.com