Wondertoonel

by Mark Ryden

Artist Statement (excerpt) IN 1706 THE DUTCH MERCHANT Levin Vincent published a book titled Wondertoonel der Nature that features etched images of his collection, which included preserved and taxidermied animals, skeletons, mysterious fossils, fantastic corals, and beautiful seashells. Beginning in the 1500s, Europeans began assembling individual collections of natural and man-made objects and filling their “cabinets of curiosities” with specimens that gave them a sense of wonder about the world and satisfied their fascination with oddities. Wonder chambers, Wunderkammen, like those of Levin Vincent evolved over the centuries into modern museums. When I walk around the halls of a museum, I have experiences like those of learning about the world I had in childhood. It is an inspirational feeling. Beyond the great art museums of the world, some of my favorites include medical museums and museums of natural history. The Museo la Specola in Florence, Italy, with its rooms full of eighteenth-century wax anatomical figures, is breathtaking. The surreal atmosphere of the mysterious old rooms is exhilarating to me. There is a medical museum in Thailand containing some of the strangest displays I have ever seen. (Things I find to be “strange” I also often find to be elevating.) I frequently go to the La Brea Tar Pits in Los Angeles, where a death trap for prehistoric mammals has become a treasure trove of fossils. I could spend days walking around New York’s natural history museum with its Hall of Biodiversity, where on a single wall you can see the range of life forms on earth from diatoms to monkeys. I stand there in humble awe of the variety of strange creatures that coexist on this planet. Museums are places any person can go to quietly contemplate and be filled with a sense of wonder. When I am in these places, I feel like making paintings.

Genres: Art

32 pages, Paperback

First published January 1, 2004

About the author

Blending themes of pop culture with techniques reminiscent of the old masters, Mark Ryden has created a singular style that blurs the traditional boundaries between high and low art. His work first garnered attention in the 1990s when he ushered in a new genre of painting, "Pop Surrealism", dragging a host of followers in his wake. Ryden has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation.

Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden's world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes.

Mark Ryden received a BFA in 1987 from Art Center College of Design in Pasadena. His paintings have been exhibited in museums and galleries worldwide, including a retrospective “Wondertoonel” at the Frye Museum of Art in Seattle and Pasadena Museum of California Art, and in the exhibition "The Artist's Museum" at the Museum of Contemporary Art in Los Angeles. He currently lives and works in Los Angeles.

Reviews

[Tom · Rating 5 out of 5]

Awesome!!!!