MARTINA MENDOZA DE REBELLIZ. FRIEND OF LAMP ART PROJECT.
Ms. Rebelliz is not a member of Lamp Art Project, but a friend, neighbor, and fellow artist. She recently curated the Art Renaissance Exhibition of Skid Row Artists, coordinated by Danielle Noble, Community Builder for SRO Housing Corporation, a non-profit low income housing provider in the inner city.
(SRO Housing Corp. is in the vanguard of approaching housing and other human needs in the inner city. The Lamp Art Project rents its affordable studio site space from SRO Housing. Danielle Noble is exploring
ways in which local artists can receive publicity and economic rewards for their
work).
Martina is an artist involved in conceptual assemblage, as well as painting, mainly in acrylic on canvas.
Martina has a passion for activism around Transgender Art, Transgender Issues, and Transgender Identity.
We will soon add more explanations along with the further images of Martina's elaborate oeuvre'.
Below, Martina with her work.
ADDENDUM. "Encore piece and notes: The Phoenix & the Virgin".
NOTE: This last image directly above was accomplished, not by Martina,
but in the 1920's by Sophie Harpe, an American female mordernist painter
active in the San Francisco Bay area, Los Angeles, and the early artists'
colony of Carmel.
Again, one of the methodologies of the Lamp Art Project
is to utilize "masters' studies". That is, we work from earlier artists' works as either a subject
or else a "springboard". We simply acknowledge this as an
important eternal aspect of art:
We speak here of the undulating continuity, or transmutation, of themes and variations
throughout the history of art.
However, It is important to note yet an additional, natural, "synchonicity"
encountered around the dynamic of themes and variations in art history.
While Picasso worked, "consciously" from African tribal work, and Diego Rivera
worked, in parallel manner, "knowingly" from Giottos
early in Diego's career, so, additionally, one encounters a
related but "unplanned", or "unconscious", natural recapitulation of
themes or even stylistic treatments.
In the Lamp Art Project we not only work from from "reproductions" (e.g., images in books) of
earlier art work, but also from actual examples, (i.e., authentic works
from art history...the paintings or sculptures themselves) particularly of early 20th C. female
modernist works. In other words, works that might hang in a museum or
serious private collection, are brought into the art project studio.
Members of the art project then "experience these works directly", and work from them, or
simply notice the direct presence of the work. Thus Magdalena Astrid
Dahlen worked directly from a wood sculpture by Maxine Albro, an early 20th C. modernist,
friend and cohort of Diego Rivera, and a limestone sculpture, circa 1950, by Yukio Tashiro.
Lamp Art Project members, in this manner, are affected by, or work from
an ongoing succession of works brought into the studio.
Works by the female modernist, Elise Armitage, and then those by
Sophie Harpe, are at hand.
Yet, the ironic, but related, "synchronous" aesthetic dynamic, of note here,
is that we all are the heirs of all art of the world.
Even as the above utilized term, "synchronicity", is a Jungian concept,
so is the idea of a "Collective Unconscious".
That is, the psychologist, C.G. Jung, postulated that there is an inherent
unconscious "psychic archive", a pool of images, symbols,
and meaning, shared by all members of the human species.
Whether such a Collective Unconscious exists or not, it is, in any case,
fascinating when aspects of abstraction, or stylization seem to pointedly,
yet inexplicably, relate to other works.
Martina had never, to our knowledge, noticed or seen this image by Sophie Harpe,
(which did, however, sit in the office of the art project),
when she created her own stylistically related work above.
The work by Martina is from her Phoenix Triptych.
The work by Sophie Harpe is entitled La Vierge.
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