Ray Caesar Interview In the Light

Ray Caesar recently exhibited 30 digital paintings, “Dangerous Inclination,” at the Corey Helford Gallery. Ray was in good spirits and the crowd immediately engaged with a select grouping of one of a kind pieces and oversized pieces. (Above, Words of Wisdom, 24x40" 2012).

Reflecting on the exhibition on the drive from Los Angeles to San Diego, I thought to present two questions that quickly came to mind. Generously, Ray responded: (Above, Coming Undone studies 2008).

mM : I love the light sources in your work. The glow of your work has an effervescent quality that really pulls you in. Do you have memories of light. Places you have been or have a favorite time of day that inspires the light that is featured in your pieces? (Above, Mantis Grill, Daybreak, 2008).

RAY : The light is in many ways is a main character of my work ...if not THE main character. Whether its a table lamp or a chandelier or a window or even just a bare bulb. I often begin the process of a piece with the light source and this is consistent in working in Maya also ...I need a light source in my virtual working environment to illuminate the objects in the scene.

When the piece develops so does the light source and its effect on the scene and in this way there is a constant process of working with light both as a practical element but also as a spiritual one as for me the light is also a metaphor for the revelation of the unconscious mind and the self realization of aspects of my own personality and the personality of all of us as a species. I have several "disorders" and therapy along with art and patience and a process of self realization is like turning on a light in a room or sitting in a garden at night and watching the sunrise and seeing that space as a constantly changing space. (Above, Siren, 48x48" 2012).

The night garden has a certain light and certain creatures populate it at night and there is a cast of shadow and color and a coolness of temperature and lack of activity by humans . . . the smells are different as are the sounds and the instincts. The sun rises and all those elements change and in some ways the garden under sunlight at noon is almost a different space—a different aspect of another completely dimension. Light and its absence seemingly moves us thru these different dimensions and I believe its the same with the unconscious and conscious mind. As a child I used to sit in a very small dark room and it was in that space that I heard particular voices and what I like to describe as "friends"...I have a particular memory of these voices being very tiny moving points of light. In a simple answer to your question I have come to love all times of day and all states of mind as they all have a reason and they all have an emotion. I am often happy sitting on my terrace when its cold and foggy and raining...I wrap myself up in a blanket and sip a cup of tea and watch the fog and listen to the rain and the light is just fantastic. (Above, La Chasse, 48x48" 2012).

mM : There is mention of pieces without the presentation of figures while presenting the influence of humans. In your piece Death of an Unfaithful Still Life (great title, by the way), the concept of human interaction and the possible narrative seem to build up the tension in presentation. What is your inspiration that moves your worlds away from the protagonist? (Above, Consort and Santa Maria, 2006).

RAY : I have drawn these non-figurative pieces for many years and quite some time ago used to paint them quite often. Light as a main character . . . then so are the objects and furniture and rooms within my work. Cabinets and chests of drawers and desks and night tables are a place where secrets are often hidden and a place we keep those things we don’t want others looking at.

They are places we tend to organize our daily life and the place we quickly put things when we don’t have another space. They are containers and sarcophagus and coffins and in a way, wombs of old memories. I think we all have cabinets in our subconcious. Go through any room in your house and go thru a drawer and there. I guarantee you have put things that you have forgotten about ...when you clean those cabinets you find little treasures and memories both good and bad. These are also the places some keep their love, their sins, the things they want to keep and the things they want to forget. (Above, Morning Glory Limited Edition Book and Morning Glory Side View 1/1, 2007).

As a child I spent a lot of time alone ... I touched old furniture and it seemed to me the furniture spoke back . . . back in England when I was 7 or 8 we had a huge black oak bureau that was attached to the wall . . . I suspect it was 60 or 70 years old and was probably built in the 1880s as we found some very old newspapers behind it when it was ripped from the wall many years later. This big old Bureau was the king of the room and was massive...it had seen more years pass than anyone or any other thing other than the house itself and yet I think the wood was older. I can swear to you on my life that this thing spoke . . . and it was wise and patient and kind and it was strong and it had come from a very old tree that was rooted to the earth. It was fashioned into a massive cabinet that had cupboards and drawers and it had contained all the things people treasured for an eternity. It was in one of the cupboards of this cabinet that was one of my places and I feel that this big old cupboard protected me. (Above, Paternal Secrets 2004 and Oh Sweet Vanity 2004).

In “Death of an Unfaithful still life,” (Above), I was thinking about how some pieces of furniture can be alive and kind and caring and how some people can be less than furniture and cold and uncaring. I came from a world where words were lost on people like words are lost on talking or begging an inanimate thing. In such a place your friends become the things that are kinder to you ...the things that protect you and sometimes those are things in the rooms you live in . . . the quiet patient things.

Many thanks to Ray Caesar and we look forward to your next exhibition. More soon and enjoy. (Ray Caesar Review — Ray Caesar Blog — Gentle Kind of Cruelty Interview — Huffington Post Interview — Order Ray Caesar Book).

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).