Ray Caesar’s Dangerous Inclination Recap

Corey Helford Gallery opened promptly at 7PM to welcome a steady crowd gathered to share a moment with Toronto based, fine artist, Ray Caesar and his new collection, “A Dangerous Inclination.”

At first glimpse the gallery presented a wide variety of artist proofs, 1/1 editions and new work such as, “La Chasseresse Jaunes (Top), La Chasseresse Rouge(L) and La Chasseresse Bleue (R), (All editions of 1, Ultrachrome in on paper and acrylic, with varnish medium on panel, 2011), studies for La Chasse (edition of 20, 2011).

The new work provided generous space relationships for the central protagonist, allowing needed space to intermingle with its natural surroundings. And as always, a lively color palette, intertwined with subtle, patterns and prints helped establish moods of reflection and introspection for both the central character and viewer.

But wait, “What’s that over there? Is that a ceramic piece created by Ray?’ No, actually standing about 25” tall by 12” around, San Francisco based, Dante Nuno, safely packaged up his confection masterpiece and drove it down to Los Angeles. Dante prepared a sugary sweet statuette of Ray Caesar’s earlier work, “Descent.” I was personally amazed that this creation was actually a cake. Dante worked on his creation for two weeks and arrived with a really impressive testament to his work. And to provide perspective on hours spent, the candelabra took 3 entire days, welding colored sugar with sugar, until the perfect form took shape.

Another nice touch to the evening, came from a four-piece orchestra, that rocked out to famous 70s metal covers with strings. Ray Caesar was smiling ear to ear, as you spun and discovered works throughout the entire gallery.

Another one of one edition, “Little Miss Sardonicus,” was framed in a custom-made felt frame, thus heightening the atrium like effect that Ray often captures with his subjects. The dimensional and organic qualities of the frame seemed to further protect the central subject from unspoken opinions or sarcastic antidotes about her behavior

Overall, “A Dangerous Inclination” was a bold step forward, featuring five 1 of 1 edition pieces (all sold), earlier artist proof editions consisting of only two, and new work that continues the visual dialogue of Ray Caesar’s collection of work paying tribute to the master works of Fraonard and Boucher. A trip to Corey Helford Gallery in Culver City will deliver as the digital medium as a place in the fine art world continues to shine with the great work of Ray Caesar.

Oh yes, and the party was complete with a gentle stabbing of the cake by Ray Caesar and a slice by slice serving to the crowd that had gathered for a taste. I think the senses were stimulated and the best is yet to come.

(A Gentle Kind of Cruelty Interview, GenArt Vanguard Interview, Order Ray Caesar Book Here).

Ray Caesar’s Dangerous Inclination

Ray Caesar’s new exhibition of more than 30 works premieres at the Corey Helford Gallery in Culver City, CA this Saturday from 7—10PM and is appropriately titled, “A Dangerous Inclination.”

Ray Caesar’s latest follows up, “A Gentle Kind of Cruelty,” showcased at the Jonathan LeVine Gallery in New York back in January. The first exhibition was a grouping of large scaled works that dealt with Dissociative Identity Disorder, a long recovery from foot surgery and the echo of childhood past, that consistently appears in his digital paintings and assemblages.

Toronto based fine artist, disparate, Ray Caesar, is the first major artist working as an outsider equipped with digital tools in compliment of Roger Cardinal’s art terminology—“art brut or raw art.” Digital paint exposes rich tapestry decorating large architectural spaces while adorning porcelain- skinned characters pose in Victorian inspired dress. (Above, La Chase).

Ray Caesar’s “A Dangerous Inclination” continues his deeply personal journey to settle feelings of childhood trauma and abuse, creating spatial atriums for his characters to protect, reflect, engage, falter, amuse and retain a sense of youth that can never be taken away.

Ray describes, “As a child, I used pictures as a way of hiding feelings and emotions I wanted to protect in situations that were extremely dangerous. If I experienced something that overwhelmed me, that I couldn’t deal with, or had emotions I wasn’t allowed to display, I used to draw it into a picture. Those pictures became a doorway to a happier, safer place – and sometimes a dangerous place for others because it was MY place. Years later while working at the hospital I realized I was doing the same thing. If I saw a child that had been burned with an iron, I couldn’t handle the image in my mind and function. So, I put the image into a picture, sometimes repeatedly (in fact, I drew and painted pictures about irons for 10 years ), and then I would put the picture away into a closet. Sometimes I would have a little ceremony at night and burn the picture in my backyard. (Above, Siren).

For years and years I didn’t realize what I was doing but it occurred to me much later in life that I was dealing obsessively with emotions on a subconscious level and the picture was able to communicate to my conscious level that all was ok ..we have protected the memory and managed the memory and found a place to put the memory so it wont hurt us again. It was/is a excellent way of viewing the image from a safe distance …a way of disassociating oneself from the ugly thing in ones head…a way of turning the ugliness in life into something manageable ..maybe even beautiful. It was and is a way to cope. (Above: 4th from left).

Virtually all of my work deals with coming to terms with the subconscious elements to my life and the way I experience the world around me. My work seems to keep on the regular themes of “Hunting Back Innocence” and “Revelations of Light” and the painful process of “Self Examination” and hidden voices calling like sirens in the night…

Ray Caesar is like no other, and I am thankful that he and Jonathan LeVine provided the opportunity to create a dynamic collection of his work back in 2008. Ray Caesar “A Dangerous Inclination” opens on Saturday, October 22 at 7—10PM at the Corey Helford Gallery in Culver City, CA and on exhibition through November 12. (Interview 1/20/11 : Ray Caesar Book Overview : FL Cute and Creepy Exhibit : Order Book Here).

Ray Caesar’s Gentle Kind of Cruelty

Ray Caesar’s new exhibition, “A Gentle Kind of Cruelty” premiers this weekend in New York at the Jonathan LeVine Gallery. Ray’s large scaled works and limited print editions reconstruct feelings of disparate emotion and personal challenges faced while dealing with Dissociative Identity Disorder. (“Day Trip” featured above).

Eris : 40x 30 : 101.6 cm x 76.2 cm : 1/1

Ray’s continues through hallowed halls of early memory and personal experiences of the spiritual realm. Inhabitants of Ray’s preserve were experienced through his childhood and experiences while working at the Hospital For Sick Children in Toronto for sixteen years. Ray’s work provides clues on a path that I would describe as, “Ray Caesar is first major artists working as outsider with digital tools that compliments Roger Cardinal’s terminology—art brut or raw art.”

Revelation

A couple of years ago, I had the great privilege of hosting Ray and his wife in San Diego to sign the limited edition of his book, “Ray Caesar: Volume One Art Collection” sponsored by Jonathan LeVine and myself. It was one of those rare moments to participate and profoundly exchange. Kindly, Ray Caesar took time out to introduce his new exhibition, featuring one-of-a-kind, large-scaled works now on display at Jonathan LeVine Gallery through February 19, 2011. Enjoy and kind thanks to Ray Caesar.

Well the name of the show is "A Gentle Kind of Cruelty" and it references the last 3 years of therapy I have been going under. I see therapy as a very gentle kind of cruelty as it takes you back to a time I would rather forget. I think I told you I am dealing with Dissociative Identity Disorder…its been a bit of a strange time for me and for the most part its not a lot of missing time…more like “distorted time.” I go into a sort of trance that is like a deep daydream and another aspect or part of me kind of takes over…(Totentanz featured above).

Calamity

Anyway "Calamity" is sort of how it feels...one minute you are doing fine then you swing back and forth and then you fall without any warning. The piece is loosely-based on the work of Jean Honoré Fragonard’s ”The Swing“ which I always loved and in part the pieces of Francois Boucher who painted unassuming lovers in some sort of paradise.

Fraonard (L) : Boucher (R)

Often, musical instruments would be found in both Fragonard and Boucher’s work off in the corner as a kind of idyllic frivolity of the good things in life. Often this was the Musee De Cour an instrument that was forgotten after the revolution. I am not sure if they have any literal meaning other than to suggest the girl spends her day in leisure and unconcern, but tragedy can strike the innocent anytime. I also thought it was a bit funny to put Bach music and a tambourine as if she was attempting something that difficult on such an instrument...a bit of humor. Tambourines also...like the swing…keep time or measure beats.

Keeping Time

The ants...red ones, like tiny jewels...along with all the other insects are the life in the garden no one notices or sees. For me, that hidden life is always suggestive of the subconscious and how without our knowing that subconscious can have a life of its own. It can be parts of our mind that are dissociated from us...separate and having a mind of its own­—totally unconcerned about the calamities and tragedies befalling us.

Impromptu

At the time, I was reading about Dylan and thinking of the words to his song that suggests a kind of pied piper aspect—the little ants follow along. Dylan’s lyrics have so so much meaning...when the idea to put a tambourine in the piece occurred I came across these lyrics in the song that stuck with me.

Bob Dylan’s “Mr. Tambourine Man”
Then take me disappearin' through the smoke rings of my mind
Down the foggy ruins of time, far past the frozen leaves
The haunted, frightened trees, out to the windy beach
Far from the twisted reach of crazy sorrow
Yes, to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea, circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow.