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Understory
Nina Surel Exhibits at Praxis International Art
By Janet Batet
Lurking below the forest canopy, a voluptuous captive world awaits its moment. Shielded -and restrained- by the canopy trees, which arrogantly prevent it from growing up into the forest overstory, this murky universe persists for decades as suppressed juveniles.
The forest overstory and understory have a correlation with the psychological states of consciousness and unconsciousness and with the social precepts that dictate what is permissible and what is forbidden. In the midst of this shadowy yet intense universe stands the work of the Argentinian Miami-based artist Nina Surel.
Nina Surel, Sweets to the Sweet, 2011, mixed media: lace, buttons, porcelain, costume, jewelry, and resin on wood, 78” x 87.”
Surel’s forestial landscapes are always populated by whimsical characters that appear to emerge from the most fantastic and disturbing stories. The artist has chosen her own effigy to embody the spirit of this shadowy, mysterious universe. Always unexpressive, the artist’s portrayed face has a rare allure. We cannot determine if it is a living person or a mystic figure stalking us from the past or, if we are just facing our own image of fears and desires. The technique used by the artist accentuates this confusing effect.
After printing the picture, almost life size, the artist places the body on the table. Like a mortuary makeup artist, Surel patiently starts illuminating the face. The artist uses real professional makeup for this process: concealing foundation, blush, lipstick. Then, after the flesh tone is perfect, the artist proceeds to dress the body. Using an old abandoned wedding gown, multicolored gemstones, and vintage German porcelain, Surel insufflates a personality, a history, and a life into the figure.
The exuberant decoration of the characters dressed with an aristocratic accent and placed in sumptuous natural landscapes reminds us of the loving, flirtatious scenes characteristic of the frivolous Rococo style. Nectar (2011) is symptomatic in this sense. However, the use of a somber palette, the stiffness of the figures in most of the canvases, and the heavy forest itself, lead us to another essential referent: The English Renaissance theatre that derived from medieval theatre, charged with the ideas of mystery, morality and destiny.
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Nina Surel, The Understory, 2011, mixed media: lace, buttons, porcelain, costume, jewelry, and resin on wood, 78” x 60.”
The echoing image, repeated endlessly and confronting itself, speaks of a split personality where liberation of the unconscious is reached thanks to the understory. The Shade (2011) shows two like female figures standing side by side in identical poses. The oppressive and opulent clothing full-fledged with ornaments (buttons, embroidery, porcelain, lace, pearls, velvets), obliges the severe posing. This image of containment, also found in oeuvres like Royal Jelly, is the gateway to the journey proposed by Surel in this so well-structured show.
Then, the inevitable occurs. Once inside the forest, we succumb to a murky, fungal, and haunting universe that soon becomes a powerful manna: source of ecstasy and delight. Musk and Sweets to the Sweet (both 2011) are very representative of this emotional status.
Making a sharp commentary about the feminine condition throughout history, Nina places the pristine and immaculate symbol of the sheep, which like the spring, carries us back to childhood, back to that first age when fairytale stories, with their enchantment and fears, shaped our aspirations, taboos, and gender roles. Hopefully, at the end of the journey (see Understory, 2011), the forest canopy seems to open a gap, liberating the captive anima that now emerges into the daylight, self-confident, master of her own destiny.
“Nina Surel: Understory” is on view through October 22, 2011 at Praxis International Art. 2219 NW 2nd Ave, Miami FL, 33127. Phone: 305 573 2900 /
Janet Batet is an independent art critic and curator based in Miami.
