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Madeline Von Foerster
In my paintings, I attempt to unveil images of the
subconscious underworld – my own and that of my culture. I utilize the methods and
the styles of the past, in order to reinterpret current topics using the iconography of
history. I think there is still gold to be mined from the meticulosity of the Old Masters,
but I would like to alloy it with the dream-delving of Surrealism and the conscience of
the Social Realists. It is my hope that art-makers worldwide succeed in our mammoth task
— that of changing the current omnicidal tide of culture — before everything
worth saving on this planet has been razed, or eaten. I believe there is still time to
make a new myth. There is still a chance for imagination to rise to power."
Madeline von Foerster received her art education at California College of Arts and Crafts, and at Freie Kunstschule of Mannheim, Germany. She has also studied the Misch Technique with Philip Rubinov Jacobson. Her work has been published on many bookcovers and CD covers, and she was a prizewinner in the "Brave Destiny" exhibit of Surrealist and Visionary art. Born in San Francisco, she now resides in New York City.
Self Portrait: Represented in this double self-portrait is a corporeal me, and also an inner self, or Self. The deeper Self is working to liberate the corporeal me from the pressures, doubts, and limitations that keep me from being my best. She endeavors to create a superphysical opening, one that will release these impediments, and also, allow inspiration and spiritual strength to flow in. In the same way, our unconscious mind strives, through dreams and through art making, to access our conscious mind. This "surgery" can be a painful process, but I hope this painting also suggests the peace brought by enlightenment.
Essentia Exaltata: This painting comes out of my love for alchemical texts and illustrations. The alchemists of old inspire me greatly with their metaphoric language and their endless quest for knowledge! While the alchemists were obsessed with the distillation and transmutation of inorganic elements, I imagined that a non-biological being might be just as interested with our animal parts and their elusive workings. In a way, the transforming of lead into gold is no more magical and impressive than the operations of the human heart.
Mother and Child,
Oil on panel, 20" x 24"
Mother and Child (Portrait of an Endangered Drill): Despite my captivation with art of the past, I feel I must create works that are relevant to the present. Unfortunately, the present provides much grim subject material. One such theme is the destruction of the rainforest, and the impending extinction of many of our fellow animals. These horrors weigh heavily on me, and thus they percolate into my art. In this painting, I hoped to loan the mother drill and her baby some of the grace and iconic status grounded in countless icons of Mary and Jesus. As we might not have this species with us very much longer, I believe they are deserving of just a little of the contemplation normally reserved for those religious works.
O Rubor Sanguinis, Acrylic on panel, 27" x 21"
O Rubor Sanguinis: What would a religious painting for a monster look like? That is what I was exploring here. My favorite paintings tend to be religious ones, such as the Adoration of the Sacred Lamb, by Jan van Eyck, or the Portofini Altarpiece by Hugo van der Goes. In this piece, I was trying to bring the reverential, hushed mood of such works into a completely different context, a different mythology in fact.
www.madelinevonfoerster.com
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Current Issue Highlights More Readings DA Home About Direct Art