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:star: Special Mentions:star:

Im hononored to announce that I was recently included in Jon Beinart's surreal Art Collective...

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Sacrae Particulae Ex Nihilo
The Inspired Visions of Gromyko Semper

Vicente-Ignacio S. de Veyra

Going across a gallery full of Gromyko Semper ink/watercolor paintings and drawings (with his few oils) can be likened to listening to early Uriah Heep or some such old progressive rock music with all their fantastic abandon and iconoclastic humor possible. But, for now, we can’t be sure if Semper is merely an intelligent humorist, a happy/hermetic fantasist or a serious iconoclast.

In his first major solo show after so many group shows, Semper falls for the title The Minotaur’s Recompense (opening October 23, 6pm, at the Kulay-Diwa Gallery of Philippine Contemporary Art, Parañaque City). Sure, the show title is a tribute to The Soothsayer’s Recompense by Giorgio de Chirico, one of the stalwarts of proto-Surrealism. But the title betrays a Semperian love/hate relationship with mythology which is precisely what the anatomy of iconoclasm consists of. For iconoclasm, whether in imagery or the literary field, is actually a mission to supplant an existing religious hegemony for the facility of presenting alternative cosmic attachments. And so iconoclasm, while being a war effort, is also a display of that love/hate relationship with mythology. So, bearing that in mind, Semper—as a young Filipino exemplar in neosurrealism and visionary art—cannot be simplified as a mere parody artist with an abominable patience for imagery details but is in fact a religious mythologist himself. For, never forget, visionary art is its own mythology already. Like the old dada art and original surrealism, neosurrealism and visionary art are both old/new drugs that worship a Zen koan-like heaven, which is really a simple absinthe-afternoon heaven of complex juxtapositions.

The Minotaur’s Recompense

Semper As Per Iconoclasm
We’re not talking about the iconoclasm of destruction, of course, but the one more suited to our time and the artist’s profession—and that’s the type that appropriates, twists, and finally destroys the icon by emulating the snake that eats another snake to make that eaten snake this living renewed snake outside.

Semper’s art pieces aren’t lovely as a hare’s portrait, that’s obvious, but are snake-like in their charm. They actually appropriate religious and other humanist mythologies via their iconographic imagery and instantly parody (or generously twist) these. And the way Semper parodies ‘em all! He actually enters the art of iconography, goes through the religiosity of ceremonious patience in creating details, as if he were one of those craftsmen called by the mughal to decorate the Taj tiles or by the Jesuits to Mexicanize Santa Maria Tonantzintla Church’s ceiling.

And this is precisely where a Semper can go beyond being merely charming and become quite a delight. Because you religiously go through the details with the artist, examine with him each Breughelian serpentization of a scepter, each demonization of an immaculate virgin to expose her false demigoddess-ness in a gallery collective of false demigod-ness. And here is our signal to ask: Is Semper’s imagery a product of some heavy metal pseudo-Satanism or of a serious Hieronymus Bosch-ness (were Bosch a Reformationist)?

The answer to this question will vary, of course, from gallery visitor to another, from critic to critic. For each Semper piece is a potential conversation piece, provoking conversations which can snake their way into historical alluding, quoting, complicit denigrating as well as faithful defending. And that can only be so because in all their Albrecht Durer-like complexity, Semper’s detailed ink composites are in effect war sermons of disgust with the human history of religious iconographic lies and semi-lies.

Baroque Sempernoza
But forget for the moment that Semper was the first Filipino to be invited to participate in Keith Wigdor’s (and the International Surrealist Movement in the 21st Century’s) international Surrealism Now exhibit in Coimbra, Portugal. Or that before he went there in May of this year he co-edited with Héctor Pineda the book Imagine the Imagination: New Visions of Surrealism, published in Poland in 2009 by nEgoist Sp.z.o.o., with him writing the Introduction to the book. And of course he was one of the artists included in that anthology, joining a select 100 international surrealist/visionary artists, famous and unknown, working in the genre today.

Now the question might be asked: why would anyone in this religious country given to baroque Marian art be attracted to invest in a Semper of a seemingly new Filipino Enlightenment? Why would local galleries even be enthused to have him? Well, perhaps that’s the point. If Jose Saramago wasn’t Portuguese, his literary iconoclasm wouldn’t mean anything, would it? Yet, in the Catholic city of Lisboa, Saramago’s “anti-Christian” books had been commercial successes, the earlier one helped perhaps by his exile, the latter helped by the media focus on the Laureate’s newfound notoriety.

A Catholic country is the perfect, nay the logical, market/audience for new anti-religious or anti-humanist iconoclasm. Sempers can actually decorate a restaurant’s corners, emitting both decorative values as well as intelligent informed symbologies among dining historians, semioticians, and some such group of Filipino intellectuals.

So,…I mentioned heavy metal sensibilities (sans the airbrush) as well as intellectual freethinking ones. But beyond those circles and the esthetic formalist, is there another audience for Semper’s Voltairean titles? Oh yes, of course—there’s the J.R.R. Tolkien fan, the literary fan of archaic myths, as well as the ardent admirer of craftsmen’s patience. And, lastly, the investor in difficult craft who may care little for the fact that not all complex craftsmanship is intelligent art.

Semper Fidelis
That’s our signal. Now let’s examine Semper’s intelligence beyond the craft.

In his fidelity to details as well as to the exactitude of his titles, all in the hope perhaps of arriving at Umberto Eco’s “closed text” level for a more universal reading, Semper’s pieces are not simple book illustrations material however. While “Our Lady of Perpetual Abandon” is classic transparent parody, for instance, “Eulogy to Melancholy (Whose Tormentors Appear Before Pleroma)” is a semiotic field that could allude to as many significances as one can muster—one of which could be an allusion to Napoleonic self-crownings sanctioned by divine authority. “Paracelsus Preparing the Sacrae Particulae Ex Nihilo,” meanwhile, could be an homage to the Renaissance alchemist’s magic, as if Paracelsus is one of surrealist/visionary art’s inspirers. And while “Hecate, Anubis, Consus” may be deemed a subtle bow to Hieronymus Bosch panel paintings qua literary narrative-cum-satire, only this time using Roman gods instead of Christian ones, “The Hermetic Fool” might be read as both a sneer and a tribute portrait. And while “The Vessel of Balaam” goes beyond parody to wax loud mockery, “Circe’s Ventriloquy” skips loud parody to subtly portray a heroine/villain as a good/evil motherly lady with leprous hands.

So, there you are. It’s not as though the sacrae particulae of Semper-headedness came ex nihilo. And that intentionality is precisely what separates neosurrealism from good ol’ automatist surrealism. [V]

the event here:……


The Minotaur's Recompense by gromyko


Time : Saturday, October 23 · 6:00pm - 9:00pm

Location Kulay-Diwa Gallery of Philippine Contemporary Art 25 Lopez Avenue, Lopez Village,Sucat Paranaque City, Metro Manila 1700 Philippines

Gromyko Semper

new works drawings and paintings

opening Reception:
October 23rd

The show will run from OCT 23-NOV 23 2010



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agre76's avatar
:) congrats with bienart....they declined my art...
Deborah-Valentine's avatar
selfregion's avatar
SanderJansen's avatar
Congratulations! And well deserved of course! :)
SalHunter's avatar
Wishing you the best of luck my friend!
chris10belgium's avatar
Deborah-Valentine's avatar
:w00t: I am so glad you guys! you deserve it!
Cuchulain-okami's avatar
Congratulations for the success of the exhibit and the amount of exposure it received! :clap:

Congratulations as well on the new addition to your family. :)
I hope that you and your family stay strong and healthy. :D
leothefox's avatar
My friend, would it be possible for me to get a copy of the "Imagine the Imagination" book?
jigga-jayb's avatar
wow. thanks for sharing the NEW Camille de la Rosa! ang galing ng transformation niya. ang sarap abangan kung ano ang susunod na gagawin niya!

nice article gromyko!
goatheadcorp's avatar
great feature G, thanks for sharing..she's a great artist!
Deborah-Valentine's avatar
I hope I receive my copy soon!:giggle:
leothefox's avatar
You seem to have given it a far better shine than I could have. Bravo, my friend.
gromyko's avatar
ah adrian my friend, ive never forgotten all the good things weve been together, even though youre far you are always near me in my heart my friend...thank you for all sorry for not having enought ime to visit your page i hope you can forgive an old son is getting bigger everyday, have to work, produce more art and be active n promoting the crusade!!!

but i will drop by you little by little


leothefox's avatar
:hug: hehe it's okay, my friend. You do have a lot going on, as I suspected. My best wishes to you and your family. :hug:

gloriagypsy's avatar
Incredible! Congratulations on the Interview. I've faved it. It's an exceptional read.
Dragonfly22's avatar
It would be so cool that dA had surrealism contests.. :)
Poison-Stripes's avatar
ssup's avatar
Happy Birthday dear friend :hug:, you are younger than my son :D:
gromyko's avatar
thank you my friend i appreciate it well
chris10belgium's avatar
Happy birthday Gromyko ! :party:
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