Magra-the'a
An original work by Une Femelle Heureuse

It would be peu raisonnable to assume that the
majority of patrons will comprehend the enormity
of this piece. A mere introduction, a tour
facile, if you will, of the intricacies of this
piece would insult the even the simple-occupe of
the true connoisseurs.
The dichotomy of the smooth planes enveloping
the outcroppings illuminates a tension, a lutte
des volontés, between hope and desolation. It's
silvery textures radiating in an cascade of gold
at it's apex relinquishes the spirit of
humanity, while the garbled, crinkled graisse de
lard of its peaks signifies the pull of
evolution, the up-thrusting of our nature
animale.
The globular tumult of its essence agitates and
cogitates the ethereal energies of man and the
cosmos.
A truly inspirer de crainte work that is
not only art, but Art.

Thank you Google Translate Tools

Primordial Stew IV
By Unafelice Hembra
3-dimensional work on canvas, c. 2002

Inspired by reknown 20th century literary luminary Douglas Adams, the artists’ work resonates with the harmony and beauty that was foremost in Adams’ fictional world of Magrathea. This piece, fourth in a series, captures the essence of all that is integral in the artists’ work, reflecting her political stance for Peace between different cultures. Once again she has chosen Farina as a medium and here has combined it with bits of the clay soil that is native to her home in New Mexico.

On loan, from the private collection of an anonymous collector.

A bleak blue landscape dotted with rust-colored hills and rock formations stretches as far as the eye can see. This desolate wasteland evokes a sense of lost grandeur, a portrait of something time, and humanity, left behind. What exactly is this a picture of? An abandoned frying pan filled with breakfast grease, or an unattended Chevy succumbing to the weather? By intentionally rendering the subject in a vague, but sharply focused close-up, the artist forces the viewer to transcend the mundane reality of the object. This image compels the viewer to perceive his world as an endless cycle of moments missed, opportunities left unfulfilled to congeal and rust: they are forgotten.

This is an early piece, from the artist’s “Pre-Ginko Biloba” Period.

Part of Onehappyfemale's "bowels of suburbia: dredging the neighborhood for the straight poo series" This image was painstakingly created over a series of weeks. Onehappyfemale began trolling the fake-gated community of Blushing Pines NJ after the 4th of July weekend, letting her nose guide her to a house being visited by the "honey dipper". After securing the proper permissions from the septic service, the home owners, and the crowd of prepubescent rich boys who had gathered to "see it cracked open", she mounted her Hasselblad 500 C/M fitted with a 6 foot air release, 80mm T*, and Sunpak 660 flash to a monopod and delved the sulphurous abyss. This image, enlarged to 8 feet by 10 feet, and shot on fuji velvia to capture all of the color and contrast of the primordial human waste stew, was intended by the artist to make you wish you hadn't eaten lunch before you came to the exhibition.

*NOTE* If this piece has "moved" you, the artist invites you to contribute to her next project by wretching into the turtle shaped kiddie pool filled with Barbie heads directly behind you.

Landscape of Life

This up and coming new artist has captured
the essenses of life through her
excellent use of abstract.
Notice the myriad of emotions depicted
in rich, textured shades of light and dark
with vibrant use of color.
This artist has created a landscape
where all who view it will come away
with something different…yet the
same… in that it will portray a life.

As you visually walk through this landscape,
notice the brightness in the
foreground. See the little burst
of bright yellow? Could this be
a symbol of our birth? The brightness
surrounding it…our soul?
The pinpoints of sparkling dots could
easily be seen as the bright
showers in a life.

You then come to a smoothness
in the canvas represented in a
soothing dark blue with tiny dots
of red/brown scattered about
with a few craggy hills.
One could imagine this as the time
of growth...the everyday events in
a life complete with its peaks and
valleys. Also, the wonderful times of
evenness and Serenity.

As our eyes wander to the upper
half of the canvas, we notice
a marked change in tone. We
see the brilliant use of color and
depth in the dark, murky shadows and craggy
hills. One can imagine this portraying the
last part of a life.

One can imagine looking back over the
canvas of our life's work. Some may see
loss, loneliness and regret.
Others may feel satisfaction in a life
well lived and the wisdom the years have brought.

The symbolism in this photograph
is amazing. It is truly a profound
work of art.
Each eye that gazes upon it will come away
with their own unique perspective.

This stark and graphic example of post-ultra-neo-photorealism conveys the dread, brutality and ennui inherent in the mindsets of those who are tasked with the burdens of everyday life. What appears to be a desolate landscape may, at a second glance, be viewed as a close-up of the surface of a grease-encrusted frying pan. It is in this dual symbolism that the artist conveys her message most strongly.

When viewed as the greasy remnants of one’s cookware, the first reaction is to exclaim “Alas! The Ajax didn’t work!” But when perspective is shifted back to the landscape motif, it clearly represents the soul of the very dishwasher that may make such an exclamation: barren, bleak, ugly and loaded with calories.

In the mists of time, the simplest building blocks of life begin to coalesce, begin to form more and more complex combinations, and begin to push to become something greater than their constituent parts.

This image shows what this process might have looked like, in all its beauty and fierceness. The islands of browns and golds act as a boundary for the pool, filled with shades of blues and whites, and act as a stopping point for the eyes. The dots of white give the impression of something hiding under the surface, waiting to make its way out, whereas the thickening clouds of white towards the top of the image seem to be hiding even more violent activities beneath their obscuring presence. The circle of life begins here, it seems, and the viewer is left to imagine what is to happen later.

Viscous Panoply

Onehappyfemale addresses the matter of essentialism, evident in her photographic composition “Viscous Panoply”, in an interview by the Swedish Chef in The Bubbling Fat Newspaper (November 1998, p. 31). There, Chef makes the point that Onehappyfemale’s art “seems utterly degastronomic. It has no trace of onions.”

How true.

Onehappyfemale’s gastronomy is the opposite of onionism -- even that which pervades this paradoxical installation. Life for her is too puzzling, antidisparate, and chthonic to beat around the bush with tangentially scrupulous takes on anything. The instinctive tenor of her mind reminds one of Occam’s razor: Get to the essential point and cut the condiments. When Hilton Statler, that future Developmental Expressionist manqué, suggested Onehappyfemale photograph “the breakfast crap” from a studio set-up, she replied, "I am the breakfast crap.” When Chef asked her how she knew when congealed breakfast leavings were ready to photograph, she she told him to bugger off.

Her bluntness, her dietary essentialism, her Teflonic cooking surfaces get to the heart of her art as surely as they grace her photographic choices; and, inevitably, the essential point of onehappyfemale's work remains tantalizingly beyond our grasp.

This beautiful photograph has so many levels, it is deeper than any sea. Begin with the lighting - starting from the bottom right, the lighting flows and makes you eyes follow a path of serenity to the large brown mass at the top left. This mass is not just any mass - oh no. It's the mass of freedom. The big, dark mass of freedom. Your eyes escape the persecuting light of the sea of grey and green, and you are free to roam the picture starting from the brown mass.

One might wonder, "What excatly is this picture?" Well the answer to that does not lie in words, but lies within your soul. The photographer was not trying to tell you something, but you tell yourself something. In a recent poll, the most popular interpretation of the work is that it displays disgust in the current socio-economic standings of Brazil on a world-wide scale. The artist passed them off as being fools, but assured them that they were on the right track. Look at it, and get what you want; but remember - the artist will laugh at your vain attempts in any event.

This latest work is a venture of surreal idealism in the proliferation of a blue tendency with an inverted shift in a paradigm synergy of the World's landscape.