Galerie Zuger in Vail, Colorado will be hosting the work of Ingrid Dee Magidson with two opening receptions on Friday, March 27th and Saturday, March 28th. The artist will be in attendance from 3 to 7 pm on both evenings.
Ingrid will be showing her most experimental work to date. That is saying a lot from an artist who continues to challenge herself with both materials and their use. Consider the work below titled, “My Canvas.” In this relatively small work Ingrid has created a visual reflection of sculptural objects beyond the bounds of the frame. Inside the work (not easily seen here) are elements of the girl’s life in a kind of visual diary. The overall effect is hauntingly beautiful.
Below are a few of the other works in the exhibition:
Galerie Zuger Vail is in the Solaris Building in the heart of Vail, Colorado. To visit their website, please go to: Galerie Zuger Vail
The Exhibition opens with 2 receptions: Friday, March 27th and Saturday, March 28th, both at 3-7 pm with the artist in attendance.
For the 3rd year in a row, Ingrid’s work will be exhibited at Art Miami, part of Art Basel/Miami week. Each year hundreds of galleries, showing thousands of works of art converge on Miami. It is the most influential and prestigious gathering of art and galleries in the country. Ingrid’s work will be exhibited by Unix Gallery of New York City. Unix is known for its influential and cutting edge art, a true innovator and leader in the art world. It is a great honor to be exhibiting with them.
The featured work this year will be Ingrid’s masterpiece, Cherished Memories of Cornell’s Lost Muse. As the title suggests, the work is an homage to Joseph Cornell. Ingrid reached deep into her psyche to create a work of not only sublime beauty, but intense emotion. The central figure is the young Queen Isabella of Austria surrounded by her dreamlike memories. The antique objects seem to hover, frozen in time, as the princess looks out through her dream at the viewer, questioning, wondering whether time exists at all, and who after all, is the dreamer.
Art Miami opens on Tuesday, December 2nd and continues through Sunday, December 7th.
Midtown Miami Complex (Winwood Art District)
Art Miami Website: www.art-miami.com
Unix Gallery, NYC booth D-12
Unix Gallery Website: www.Unixgallery.com
Ingrid began her most challenging commission more than a year ago. It was just completed and installed in the owner’s home this past Wednesday. The monumental piece entitled, “Goya’s Muse” combines the transparent images of two of Goya’s most well known paintings, “The Duchess of Alba in White” and the “Duchess of Alba in Black.”
Goya’s history with the Duchess of Alba is not fully known, but it seems likely Goya was in love with her. In the painting nicknamed, “White Duchess” one can see “Solo Goya” (only Goya) written in the sand. The Black Duchess was painted shortly after the Duchess of Alba’s husband died. In it we see her wearing her mourning dress, but not so much sad as defiant.
Ingrid’s challenge was to combine the two paintings into her own work. To do this, she made both images so transparent, the viewer can see through both and to the background beneath. They stand over one another, different versions of the same woman, but also part of each other. Ingrid placed many of her familiar objects into the work to denote time: clocks, sand and an hourglass. Also quite challenging was the scale of the work. Standing at almost 7 feet high (213cm) and nearly as wide, it was extremely difficult to handle the large panels and became quite heavy, about 150lbs. In both works the Duchess is standing on the beach, Ingrid wanted to create the illusion of the sand in motion. Using industrial glue and solvent, she created a frozen seascape of sand and shells that looks like a slice of the beach.
Off to the right of the monumental portrait of the two duchesses is the tiny portrait of her dog. Ingrid decided to place the dog in a separate box and frame so it would not lose its importance in the large piece. He stands alone on a bed of shells and sand, illuminated by hidden lights in the box, but also connected to the duchess by a gold chain. The effect is at once poignant and humorous. For all her importance and nobility the duchess couldn’t be without her little dog.
Thank you Brad and Penny for commissioning Ingrid to do this challenging work, for your patience and trust. She is grateful and honored to have created a work of art so special for you.
Ingrid’s newest piece, Eternity’s Doorway is one of her most experimental. In it, she adds a number of objects inside and outside the piece that give the work a highly dimensional feel as well as giving it sculptural elements.
Even though some of the objects are quite large, they are subtle, almost unseen. For example, under the the face is a skull. The photograph obscures it somewhat, but it comes and goes as the viewer walks around the art. Not in a haunting way, but as a glimpse to something deeper.
Ingrid also put various object on the outside of the art to give it sculptural details:
Eternity’s Doorway is ultimately about the connection we all have with eternity, from a timeless soul to objects which fade. Even our own body will eventually disappear, but the deeper reality of existence transcends time, perhaps even our memories, or the memory of us.
It is the detail and subtlety which make us who we are; and so it is with Ingrid’s art.
Ingrid recently completed her artwork honoring Catherine the Great.
The intricately layered mixed-media work is entitled “Reflection.” It is an homage to the Hermitage and its founder Catherine the Great:
“I am deeply inspired by men and women who have changed the world profoundly. Catherine the Great was one of these women. I wanted to capture her essence in this piece. Deeply rooted inside her soul, she knew her purpose and her destiny. With that inner driven passion, she alone helped give the world one of the greatest gifts to its future, the Hermitage Museum.
In this piece Reflection, Catherine is shown in her coronation gown along with her crown. The viewer is able to look into her dress to see a present-day Hermitage – a view towards the future. Surrounding her to the right and underneath are many portraits of her family, her husband, and her lovers who influenced her and formed her life. Like a family tree, I’ve included branches to represent their connection to Catherine.
To the left of the main portrait, the viewer can see a reflection of Catherine. It is ghostlike, representing the lasting impression of her life echoing into eternity. Like the butterflies, each of us lives only a brief time, but can leave a permanent mark. Also, if the viewer looks into Catherine’s reflection at the correct angle, they will see themselves. This is symbolic of how each of us never actually sees oneself, but only a reflection as seen through the eyes of another.”
Ingrid recently completed a commission for a Colorado client. You can see from the photo how large it is, nearly 7 feet tall. It was a challenging piece that was started in March and finished in mid August. We asked her a few questions about working on this piece and commissions in general.
Was the size of this piece a challenge?
I love working on large pieces, it allows me the space to express my visual ideas. But it is also physically very demanding. Just the shear size of the panels and weight can be hard on my body. [The final piece was well over 100 pounds requiring two persons to move it.] I’m very proud of this piece. It brought out some new ideas and challenged old ones.”
Are there more commissions in the works?
Oh yes, I’m working on one now I’m very excited about. And there is another in the idea stage.
How long does a commission take to complete?
That’s not easy to answer. It depends how busy I am, if I’m working towards a show. And it depends on how large the piece is. But all things being normal (which they never are) I usually tell the client to allow 4 to 6 months. If I can do them quicker, I always do.
Do you put more effort into a commission?
I pour my heart into every piece I create.
Would you advise collectors to buy a completed piece or wait for a commission?
It depends on the collector, but I usually advise that they buy the piece they fall in love with when they see it. If that piece is already sold, let’s talk. I can’t do the same piece twice, but I can create something similar. Some collectors are wary of commissions, that they may not be as good as the works the artist creates for himself. If they are uncomfortable, I suggest they wait for new work. But it might help to remember that many of the greatest works of art were commissions: the Mona Lisa, for example. And many great renaissance painters only painted works for patrons on commission. Some collectors are worried that they won’t like a commission piece when it’s done and they’ll be stuck with it. That’s never happened with any of my collectors, but I understand their concern. Each person has to judge their own comfort level about doing a commission. Either way, it always works out.
Ingrid gave me this glorious work of art yesterday. Let me share a little of what this means to me. Ingrid is my wife of 16 years. In that time we have experienced many things, children, challenges, joys, all of them wrapped in love. We have always shared our creative spirits with each other. When she began working on this piece, “The Oracle,” she asked me what I thought. “You must keep it, it is magnificent.” I replied. Instead of keeping it, she gave it to me. But it is much more than a great work of art, it is a connection to us, our family, our inspirations, even our mentors.
A brief history of the artwork
The central figure is from a painting by our dearest friend and art mentor, Eva Cellini. Now in her late eighties, Eva has been an inspiration to both Ingrid and me; Ingrid for her art and me for my writing. Beneath the woman are the components of many dismantled computers. My son and I got the joy of pulling them apart. Ingrid knows my love of all things technological and sci-fi. The butterflies were opened and chosen by my daughter; take a close look, one is impossibly beautiful, transparent.
The oracle doesn’t have a right eye, in its place is a laser emitter. It cuts through the fog of time and reveals the truth. Her gown is made up of music, the sounds of beauty and art. And she is floating above all that technology. She is not denying technology, her eye is made of it after all. No, she accepts it, uses it where appropriate, but is not overwhelmed or in love with it, and it is part of her. She weaves music, art, technology, nature and time into her prophesies.
It is a wonderful piece, personal and beautiful. I am grateful to a beneficent universe that would put me together with my amazing wife. Thank you.
Whispered Memories is one of 12 new works featured at the upcoming one-woman exhibition for Ingrid Dee Magidson in Vail, July 5th. Mysterious and thought provoking, it is a good example of her recent work. Once again, Ingrid challenges herself to reach beyond the expected into the unknown.
We feel a great sense of time with this piece. The little boy has long since grown up, lived, died, was buried and has long ago turned to dust. Yet here he is again, as if reawakened from a dream. The butterflies flying around his head, give the viewer a feeling that he just ran in long enough to get his portrait painted, and ran back out to play. His clothes and hat reveal a deeper sophistication, however. And his haunting eyes show a thoughtful look far past his young years.
When we look closer, we find an entire life woven into the boy’s figure. His clothes are not just fabric but stories, mythology and adventure. One see’s cupid and other cherubs. But there are also kings, battles and castles, an entire life layered here. It is the boy’s future, now our past, that is merged impossibly together.
One necessarily moves back to the boys face, cherubic and beautiful, but fractured. Ingrid has layered it in such a way as to show a break under the eyes. The mind dreams of the future, the eyes see past us beyond even our own lifetimes. But the heart and body are separate from the mind, part of the past and history. It is this fracture that keeps up coming back to his beautiful young face, the past and the future trapped in his small body.
Whispered Memories is about all of us, about our link to our own childhood, when we gazed into the future unafraid, without care for the past. But as we get older, our future shrinks, and our past grows, the two threatening to tear apart from each other. But they don’t tear us apart, the stay joined. And just like Whispered Memories, we hold the impossible together.
Whispered Memories and 11 other works by Ingrid Dee Magidson will be featured at her One-Woman Exhibition opening July 5th and 6th at Galerie Zuger, Vail, 6 to 9pm both nights. The exhibition continues for three weeks.