Linda Ibbotson is a poet, artist and photographer from the UK, currently residing in Co. Cork, Ireland. Her poetry, artwork and photography has been published internationally including The Irish Times, Irish Examiner, Poethead, Levure Litteraire, California Quarterly, Itaca (featured Irish poet and translated into Romanian), časopis Harmonie (Czech music magazine) Limelight ( Australian classical music and arts magazine) Boyne Berries 27 and Live Encounters.
A photograph was exhibited at RDS Dublin and an artwork print – Lismore Castle Gallery, Co. Waterford.
She was invited to read at the Abroad Writers Conferences in Ireland. Her poetry has been read on radio and performed in France by Davog Rynne.
She writes a poetry and arts blog ‘Contemplating the Muse.’
Whichever medium I work with I rarely have a preconceived idea of the final image. That to me is creative joy, albeit a little daunting!
Art has the power to express silently. It is an emotive and at times a unifying experience, perceived uniquely by both the artist and observer.
My preference is contemporary art and find it meditative. After working with acrylics I chose to work with an unusual mixed media. I submerged layers of tissue paper in water and acrylic paint, maneuvering playfully and intuitively, photographing with absorbing precision. In The Moon I also used a crystal which became illuminated by the sunlight as it played with natural elements of light and shadow, energizing the delicate and exciting images that emerged. The layers depict our vulnerability, sensitivity, strength and energy as in Wave.
Botanical – This innovative, decorative artwork depicts these unprecedented times. It epitomizes our fragility and how swiftly we can become frozen. Stillness, silence, a gradual thaw forms the integral theme. The technique I use is to freeze flowers in a block of ice, including here, the beautiful white lilac Madame Lemoine, and literally paint them with acrylic paint, photographing them simultaneously as they thaw, the oxygen bubbles add life, texture and interest. A print of this artwork was in an exhibition at Lismore Castle Gallery ‘Stories from Lismore and Beyond’ 31/07/20 to 11/10/20.
Looking beyond the obvious. To feel rather than thinkis my intention along with the words of surrealist artist Leonora Carrington “You’re trying to intellectualise something desperately and you’re wasting your time. That’s not a way of understanding…” – Linda Ibbotson.
“In Camila there is light, but at the same time there is a vocation to travel in the hollows of time, to take refuge in unknown, challenging, dark and primal worlds.“
~ Fernando Cuartas
Camila Ríos Monsalve was born in Medellín, Colombia. Her works of sculpture have been published in different Latin American countries and Spain. She studied International Business and is a specialist in International Trade. She currently works as a researcher and director of social and educational projects for the OBSERVA AC Organization. She is also a co-author and illustrator of the Games for Peace Briefcase and of the books “El Cuento Revienta”, “Manual de Niñología” and “Pasatiempos y activities por peace”.
She has been invited to participate in the EXDECA-Mexico Gallery Exhibition, Art Exhibition from the Interior of the MUPA Open Doors Museum Mexico, and the III Virtual International Exhibition * ART IN QUARANTINE TIMES * A message to the World (2020). Her works have been published in the magazines: ArtyHum Magazine Supplement (Spain), Kosmonauta Magazine (Mexico), Collective Culture (Mexico), Innombrable Magazine (Mexico and Colombia), Literaturally Magazine (Mexico), Cisne Digital Magazine (Mexico), and Urban Anecdotario (Argentina). She has been invited as an ‘Artist of the month’ in various magazines including Cronopio Magazine (Colombia), ArtyHum (Spain), and Molok Magazine (Peru).
La serie de los Oráculos
Por: Fernando Cuartas
Camila Ríos Monsalve:
~ La actividad de Camila es una retrospectiva en el tiempo mítico, ese submundo de las transfiguraciones, donde todo ha pasado y sigue pasando en un secreto invisible que se encuentra en los resquicios del sueño. La población de Paracas, una cultura milenaria, ha dejado huellas con sus tumbas enigmáticas. Cráneos alargados, pipas funerarias, rostros deformados, máscaras de rituales aún no descifrados. Camila se introduce en ese mundo de oscuras connotaciones mágicas, crea unas esculturas donde al sólo observarlas, se respira lo sacro, el misterio y lo simbólico, de un mundo supuestamente no entendible en nuestro medio.
Oráculos, como el Oráculo Chamánico de la Serpiente Emplumada, nos entrega una figura de temblorosas miradas de otros mundos. El viejo sabio de una aldea entre las brumas, como la figura Maestro de los Antiguos, y el Guardian de los Portales y las Fases del Tiempo. Una escenografía tridimensional donde cada escultura, crea una leyenda: Rey de las Infinitas Luminarias, Oráculo del Origen, Oráculo de la Muerte Estelar y el Oráculo de la Sabiduría Estelar. Un mundo ritual, una poética de presencias de lo insondable, de esos arcanos silenciosos que parecen observarnos vestidos de roca o convertidos en mutismos.
Camila es pintora, escultora, ha hecho talleres y libros para la infancia. En algo se asemeja a las dinámicas lúdico- misteriosas de Tolkien, a esos conjuros entre la historia y las presencias de fuerzas desconocidas que nos visitan en la duerme vela. Pero sus figuras encarnan unas connotaciones casi totémicas, más cercanas a la imaginativa y entrañable literatura de Lovecraft. Ella misma ha creado una mitología, una serie de santuarios, unas figuras que podrían hablar en las noches y comunicarse desde las más profundas honduras.
En Camila hay luz, pero a la vez hay una vocación de viajar en las oquedades del tiempo, de refugiarse en mundos ignotos, desafiantes, oscuros y primigenios. Camila es muy joven, nacida en 1991, ciudad de Medellín, vivió en México donde esa cultura prehispánica singular ha influido en sus procesos. Lo mismo se podría decir del mundo olvidado del sur, mucho antes de los Incas, civilizaciones extrañas, con ritos de deformaciones craneales y sus signos trazados sobre la piel de los desiertos o en los bosques. Camila toma esas fuentes y las recrea y las vuelve a bautizar desde sus intuitivas gestaciones artísticas.
Bien decía nuestro poeta Jorge Zalamea “en poesía no hay países subdesarrollados”, todos los pueblos originarios han estado poblados de sacerdotes, oradores y poetas, de bebedores de estrellas y de filósofos alucinados. La mujer encarna en ese mundo un papel chamánico de iniciación, es la línea con la tierra, la fuente de las aguas y el corazón de las tinieblas, es la luna y sus azares, es el código secreto para abrir portones de luz en medio de las sombras. Bien, a esto se dedica Camila Ríos Monsalve.
The oracles series
By: Fernando Cuartas
On Camila Ríos Monsalve:
~ Camila’s activity is a retrospective in mythical time, that underworld of transfigurations, where everything has happened and continues to happen in an invisible secret found in the recesses of the dream. The population of Paracas, a millenary culture, has left traces with its enigmatic tombs. Elongated skulls, funeral pipes, deformed faces, ritual masks not yet deciphered. Camila enters that world of dark magical connotations, creates sculptures where just by observing them, one breathes the sacred, the mystery and the symbolic, of a supposedly unintelligible world in our midst.
Oracles, like the Shamanic Oracle of the Feathered Serpent, give us a figure of trembling glances from other worlds. The old sage of a village in the mists, like the figure Master of the Ancients, and the Guardian of the Portals and the Phases of Time. A three-dimensional scenery where each sculpture creates a legend: King of the Infinite Luminaries, Oracle of Origin, Oracle of Stellar Death and the Oracle of Stellar Wisdom.A ritual world, a poetic presence of the unfathomable, of those silent arcana that seem to observe us dressed in rock or turned into silence.
Camila is a painter, sculptor, has done workshops and books for children. In something it resembles the playful-mysterious dynamics of Tolkien, those spells between history and the presence of unknown forces that visit us in the sleeping candle. But her figures embody almost totemic connotations, closer to the imaginative and endearing literature of Lovecraft. She herself has created a mythology, a series of sanctuaries, figures that could speak at night and communicate from the deepest depths.
In Camila there is light, but at the same time there is a vocation to travel in the hollows of time, to take refuge in unknown, challenging, dark and primal worlds. Camila is very young, born in 1991, in the city of Medellín, she lived in Mexico where that singular pre-Hispanic culture has influenced her processes. The same could be said of the forgotten world of the south, long before the Incas, strange civilizations, with rites of cranial deformations and their signs traced on the skin of the deserts or in the forests. Camila takes those fonts and recreates them and re-baptizes them from her intuitive artistic gestations.
Our poet Jorge Zalamea used to say “in poetry there are no underdeveloped countries”, all the original peoples have been populated by priests, orators and poets, by star drinkers and hallucinated philosophers. The woman embodies in that world a shamanic role of initiation, she is the line with the earth, the source of the waters and the heart of darkness, she is the moon and its hazards, it is the secret code to open doors of light in the midst of the shadows. Well, this is what Camila Ríos Monsalve does.
THE CONNECTION BETWEEN THE FINE ARTS AND THE POETRY OF ROMAN KISSIOV
In the Fine Arts (painting, drawing, illustration and book design) the changes with me are connected to the gradual passing from the more realistic to the more expressed by signs, symbolic image… But I never get to the abstraction with this symbolism, I still remain with the figurative, though more associative and cleared up imagery. The direction is as follows: in plastic plan I seek combination of grandeur, by means of more summarized forms and structure of the material, lyricism, intimacy, through nuanced monochromaticity or emotional expressivity; and semantically speaking, the main challenge for me is sacredness… Passing through a clearly expressed metaphysical time period in painting from the last years of my studies in the Academy and a little after that, my aspiration for years on end has been that my pictures and my paintings should exert impact as modern icons, which on the one hand should forward to ancient iconographic traditions, and on the other hand – that they should have their own plastic language which is contemporary and adequate to today’s day, without being commercial.
The changes in my poetry were made into the direction from the existential to the spiritual, from the dramatic-paradoxical to the contemplative and the sacral. (…)
Those were parallel worlds for me then – when I dealt with poetry, painting fell back in total and vice versa… Only several years later these „worlds” appeased and got together, started mutually to supplement each other in their capacity of various manifestations of a Whole. (…)
Creative work and the act of creation is mystery… Evidently both of them were input in me but to get to poetry I had to go along a longer way. And the connection between these two kinds of art in my case is me myself… and – naturally – the One Who Hands Out the Talents and Inspires. (…)
If a person, who looks at my pictures, knows my poetry, it, naturally, will help him a lot, there will be another “key” for opening the door to my spirirual world and to the interpretation of my pictures. And yet, everyone „sees” things in a different manner, according to what he carries within himself…
If a person reading my poetry also knows my fine art, it, of course will help him a lot, there will be another “key” for opening the door to my spiritual world and to the interpretation of my poems. But everyone „sees / reads” in a different manner depending on what he carries within himself.
(From a poll of Ivo Pecov with Roman Kissiov from the article “The Connection between the fine arts and the poetry of Roman Kissiov as supplement to the perception of broader creativity” in 2014.)