PAYSAGE EN MOROCCO

PAYSAGE EN MOROCCO

It is interesting to note, that I never feel the urge to do architectural depictions in South Africa. However, my visit to Greece in 1988 spawned a complete exhibition dedicated to the architecture in Athens and Sifnos.  

I think ‘feeling safe in your environment’, allows ideas to flourish in a natural way.  In South Africa, we have safety issues to consider and become reluctant to move around in the older parts of our cities that are steeped in character.  I feel robbed of my sense of belonging, my roots, and I am only allowed fond memories of places I frequented in my youth.

When it became public knowledge that I would be visiting ancient Marrakech, Fez and Casablanca in 2005, the comments always centered around how ‘colorful Morocco’, would influence my work.  The truth is that Morocco is colorless!  It is a typical dessert city similar to Cairo, where the earthy coffee-, cream- and beige tints and hues of the inhabitants, architecture and surrounds, become the canvas on which the color is artificially added, by cleverly incorporating bright and colorful textiles and paint. 

The local product 'brou de Noix' (extract of nuts) which is used by the calligraphers, was the medium with which I could express myself best.

                                    Paysage en Morocco:'FES' brou de Noix 490 x 370 mm 2005 sold

In this panorama or view on to ‘Fes’, I decided to omit more than half of the satellite dishes that were visible. (I simply found them too distasteful, as they had no place in the Biblical fragrance that emanates from this ancient city)

 My vantage point for ‘Fes’, was the rooftop of a Persian carpet dealer. The top of the building was strewn with newly washed carpets that were drying in the sun.  Although I had the luxury of a 360˚ view from where I stood, it was the tiny slice containing three Cypresses etched against the cloudless sky, which reminded me that besides myself, I was not the only ‘living one’ there.  Although I knew that Fez was teeming with life, no living soul was visible from above.  The Cypresses were guarding the secrets of the city like so many other sentinels one finds on guard at a cemetery.

'DENIAL' Knowing so much yet understanding so little)

'DENIAL'

(Knowing so much yet understanding so little)

'I'VE JUST RETURNED FROM A BRISK LITTLE WALK IN MY NEIGHBORHOOD, WHERE I HAPPENED TO NOTICE TWO RATHER PLAIN, (BUT BRIGHT-EYED) GREY DOVES ON THE TARMAC, NODDING THEIR LITTLE HEADS AT EACH OTHER, INDICATING TOWARDS THE UNEXPECTED PUDDLE OF WATER IN FRONT OF THEM..... I COULDN'T HELP BUT THINK HOW SHORT THEIR LIFE SPAN WAS, AND YET, HOW THEY HAD MANAGED TO REACH SUCH MATURITY AS FAR AS THEIR EMOTIONAL INTELLIGENCE WAS CONCERNED. THEY WERE PLANNING A MORNING DIP INTO A DELIGHTFUL LIQUID POOL THAT REFLECTED THE BLUE SKY AND A FEW DRIFTING CLOUDS.......WHILST ELSEWHERE, IN A PARALLEL UNIVERSE, ARROGANT, 'INTELLIGENT' HUMANS, ARE SCHEMING AND PLOTTING TO WIPE OUT OR MAIM THEIR OWN KIND, WITH-OUT EVER HAVING HAD THE OPPORTUNITY TO CELEBRATE OR SHARE, THE GIFTS OF NATURE WITH EACH OTHER. '

‘COSMORGANIC: EMERGENCE’

                                 ‘COSMORGANIC: EMERGENCE’ 

oil on canvas 

600 x 500mm

2002-2004

Some thoughts:

COSMORGANIC: Fusion of the cosmos (infinite) with the organic (finite).

'EMERGENCE': The butterfly or Papillon is the perfect metaphor for 'the organic'. 

The caterpillar withdraws from ‘visible’ life and entombs itself in its cocoon. Similarly the artist withdraws from life and entombs herself in her studio.

The place of withdrawal (death, social death) becomes the birthplace (place of transformation), from where the newly transformed, creation (Papillon or work of art), emerges.

Surrounded by chaotic order, it emerges in perfect, intricate simplicity, ready to fly into and ignite the imaginations of whosoever comes into contact with it.

The artist explores impossible acts of tolerance during the art/act of creation where TIME + TOLERANCE + APPLICATION = the intricate and methodical transformation of an idea and the subsequent emergence of an original work of art.

aleta@aletamichaletos.com
www.aletamichaletos.com

                                      Detail:'COSMORGANIC:EMERGENCE

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'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

'IDYLLIRIUM'

click on image to expand

‘IDYLLIRIUM’ 
2005/6

1.3 m x 4.5 m
Oil on board
Sold
 

‘The idyllic, frozen in a moment of ecstasy'

Up to date, ‘IDYLLIRIUM’ is the most ambitious of my ongoing body of work, ‘Translucence: Les Filles et Garcons’, where the delicate and translucent application of paint, becomes the perfect vehicle to express fluid and feminine forms and imbue them with a feeling of the ethereal.

This panel is a tribute to femininity. 22 females are depicted and the spectator’s eye is gradually led by the rhythmic and sensual lines formed by their beautiful shapes which result in a haunting yet serene visual melody. The nymphs are oblivious to the indulgence of the spectator and we in turn get a secret glimpse into their private world. Only one of the nymphs, with only her arms visible, dares to have eye contact. 

Nude figures posses ambivalent meanings and imply ambiguous emotions and when the contemplator is confronted with the revealed human forms in ‘IDYLLIRIUM’, the attitude is that of NUDITAS VIRTUALIS = purity and innocence.

Heavy but subtle patterning, inspired by Oriental motifs, contrast with the simplicity of the figures.

Five separate pieces, each measuring 1.3m x 0.9m, are attached to each other, so as to result in the monumental ‘IDYLLIRIUM' that spans a total of 4.5 meters. The ‘feast of females’ - adolescent, delicately boned, blond or brunette, as well as those who are more generously proportioned and sensual, personify the wonderful variety of beauty and femininity to be found in diverse cultures. Some have the angular lines of an Art Deco bronze or ivory figure, whereas others possess the soft sensuality of the ultra-feminine Art Nouveau sirens.

Traces of the subtle influence of Botticelli and Alphonse Mucha, both childhood passions, are suggested.

This freeze is an ode to a place where perfect harmony and beauty exists, where nothing can disturb or disrupt - a Shangrila. 

www.aletamichaletos.com

RE-CREATION

I have several unfinished paintings standing on a ledge and leaning against my studio wall. They are visible to me while I'm busy painting 2 smaller works for an imminent exhibition. I've also been photographing flowers and Autumn leaves in my studio and some remnants from a decaying floral arrangement, left over from Mother's Day. It's fascinating when one discovers (completely by chance) similarities in your paintings and the objects you are photographing. That is the moment creativity is sparked and a happy hour or two, can be spent re-creating, in the privacy of your studio.

 

'UNNECESSARY SUFFERING'

'UNNECESSARY SUFFERING':

'Not painting, induces a feeling which is similar to looking in the mirror, seeing that you are overweight and postponing your diet with yet another day....'

'CULTURE QUEEN': Transformation of Winnie Mandela

‘CULTURE QUEEN’

Aleta Michaletos, 1989, oil on board, 570 x 355 mm

Background:

1989 marked the extremely brutal way by which citizens of our country were put to death: the ‘necklace’ method. A tire was place around the victim’s neck and it was filled with petrol and then set a-light with a match. The crowd watched while the victim suffered an agonizing death.

During this period, Winnie Mandela, the wife of the then imprisoned Nelson Mandela, captured headlines. Media-hype, caused not only her name but also defiant photographs of her, as well as any reference to a box of matches or even a match, to send a chill of fear down one’s spine.

I have always been fascinated by paradoxes. Consequently, the mesmerizing and enigmatic beauty of this woman, tainted by everything that we regard as evil, (as portrayed by the press), implanted itself in my subconscious and lay there dormant.

The watering occurred, when I received an invitation to participate in a group exhibition in Johannesburg, titled: ‘QUEENS’. All sorts of ‘queens’ could qualify: gay, royal, bee, etc.

I instinctively ‘knew’ I wanted the fascinating Winnie Mandela to be my ‘queen’.

The intricate process of ‘imagineering’ the whole concept of the ‘yet to be’ painting, was now set in motion.

On the one hand the lady in question had a regal way about her but on the other hand, she certainly was an atypical queen. I started thinking about culture and the differences and contrasts between African and Western culture. Then it struck me! I would anoint her as my ‘CULTURE QUEEN’!

Although I could not imagine her with a conventional crown on top of her head, the images and symbols necessary for the ‘language’ of the painting, gradually presented them selves to me.

I am extremely particular about fostering ambiguity in my work and I welcome and encourage the opinions of spectators as it re-invents the painting for me. It is important to be slightly ‘tongue-in-cheek’ when analyzing this painting. It is amazing how richly the work has developed over the last few years, especially since active participation was sought from the viewer.

The symbols:

To represent African culture, I employed the following symbols: Animal print, horns, African landscape, elephant, bead work and an African woman with traditional headdress.

To represent Western culture, I felt that a packet of cigarettes was absolutely typical and therefore, more than sufficient.

The painting:

The portrait of ‘Culture Queen’, occupies the middle third of the surface of the painting. Her eyes are slightly averted to the ‘left’. Her face has a strange ‘metallic’ look to it, symbolizing her inner strength and the way she has had to ‘steel’ herself against the criticism of society. Her enigmatic smile evokes memories of Da Vinci’s Mona Lisa.

A pair of horns, nearly encircling her head, rest on her shoulders. This is her ‘crown’, which has slipped over her head, forever ‘trapping’ her in her own glory as well as the way the media has presented her to us (whether true or false).

Our history books were filled with stories of the Impis and the horn formation they used as their strategy for attacking. Some viewers read sexuality into the symbol of the horn but alternatively it’s quite possible to view it as a crude form of ‘halo’ that surrounds her face.

Elephants are powerful symbols of Africa but the ‘white’ elephant around her neck could imply that some of her antics, simply cannot be taken seriously. 
It was only after the painting had been completed that I read somewhere that her popular name was ‘Ndlovu’, the She-elephant!

In the background, the landscape could be the setting for either a ’rising’ sun or a ‘setting’ sun. The warm, rich colors of Africa are evident, and the ‘blazing’ painting literally ‘glows’ from within.

A stepped geometric frame, tiger skin-patterned, surrounds the portrait. The bottom part reminds one of the collar a ‘court jester’ would wear whilst the top part, is rather ‘monumental….’

A portion of ‘barbed-wire’ connects the two top points of the stepped frame. I recall that the subjects in propaganda photographs, were always placed behind ‘barbed wire’. I also have childhood memories of seeing the ‘washing’ in rural areas, draped onto barbed wire.

As a thinking artist, I find it necessary to re-evaluate all preconceived ideas. By ‘looking at’ my painting, the viewer agrees to accompany me on this journey. These images are capable of generating severe discomfort and downright antagonism in the viewer. The subject has been a constant victim of persecution and humiliation and the similarity in shape between barbed wire and thorns as well as the pain it can inflict on the body, can become an intolerable ‘connection’ for the most of us. In this instance, the barbed wire is elevated above the head and spans the area left open, where the two points of the horns don’t succeed in completing the circle of the crown.

The only clue as to whom the portrait represents is the half-obscured ‘WIN’ on the packet of cigarettes. A cigarette ‘butt’ is poised on the top corner of the packet and is neatly strung on the ‘necklace’ around her neck. The Afrikaans word for ‘butt’ is Stompie. This is the name of the young soccer player who disappeared and with whom the ‘subject’ had been linked. Is the ‘elephant’ trampling the ‘Stompie’ or is it a sign that smoking should be banned?

The viewer is invited to participate in the endless permutations of playing visual, mind and word games, the conclusion remaining as mysterious as the subject, who, AS mysteriously, became Deputy Minister of Arts and CULTURE in 1995. 

 

www.aletamichaletos.com 

 

Signed art prints are available