nessmen sit atop the exposed scaffolding of demolished buildings. Her
work captures the mystique of the incomprehensible. German digital
collage artist Pierre Schmidt, aka Drømsjel, also works with a dreamlike landscape. Schuld und Sühne and Resentment III have a liquid-like
fluidity as one unusual image flows from the next without severing ties.
Schuld und Sühne depicts female athletes, their heads as balls poised for
play, tethered to a cornucopia of flowers that blossom into the blurred
face of a man. Puerto Rican artist Rodriguez Calero’s collages Seduction
and Loving Embrace suggest the playfulness and confusion of romance.
Couples’ faces are either rendered in Cubist fashion or replaced by colorful, primitive masks obscuring their realistic selves in favor of fantasy.
Giorgio de Chirico said, “What I hear is worth nothing; the only
thing that matters is what my eyes see when they are open, and even
more when they are shut.” In their placement of familiar images in unfamiliar contexts, these artists offer works that have the movement and
mood of dreams, of the visions that come to us when we shut our eyes
and give our unconscious free rein. Surrealism continues to thrive because artists are compelled to remind us that imagination and the ability
to look inward are crucial for surviving the absurdity of contemporary
existence. As it did for the artists between the two world wars, surrealism provides an outlet for creativity and spontaneity and an escape from
the tyranny of the “real.”