One of my dear blog friends described herself as a "sociable loner," and it seems like such an apt description to me (or should that be of me?). I need to unpack my suitcases and get back in touch with my loner side -- not to mention my blog friends. The sociable side feels as stretched as this reflection of Salvador Dali.
I'm not sure what the little golden man is meant to represent - was SD giving himself an Oscar? -- but those lumpish triangles are actually loaves of bread, and yes, those are eggs. Apparently, they were the fuel for Dali's creativity in more ways than one.
Bread has been one of the oldest subjects of fetishism and obsessions in my work, the number one, the one to which have I have been most faithful. (Salvador Dali)
Although Dali talked all sorts of rubbish, I agree with him about bread! (Bee)
As for eggs, I can't see an egg these days without thinking of the sad demise of Ralph and Lauren. When we arrived home from our Spanish vacation, they were reported missing by the neighbors. At this point, we have to assume that they are truly gone. Since the gate was closed, and no feathers have been found, we have to suspect hen-napping. It's all a bit surreal.
I always like to know about the food aspect of things, so I was fascinated by Dali's special table at the Hotel Duran. Since we may never be in Figueres again, we opted for the Dali Smörgåsbord: Theater-Museum, jewelery display, and tour of Dali's Figueres -- which included his childhood home, his teddy bear, and his special "cellar" at this Figueres landmark. Anyone can reserve Dali's table, and observe the various pictures and other memorabilia on display. If you run out of vinegar (not to mention white wine), just help yourself from one of the casks!
As I was snapping this picture, the waiter suddenly emerged, like an apparition, from the darkness. The camera ending up catching what I hadn't seen -- a very Dali-esque effect, I thought. So much of his art deals with optical illusions, and he liked experimenting with lenses.
My children are not the most willing of cultural tourists. (I think that we blew their fuses in Florence two summers ago.) Any kind of church or cathedral immediately provokes a powerful response -- but not of the sacred kind. It did sort of amuse me when my world-heritage-site-weary daughter said, "But why do we have to visit this church? It's not even finished."
I have quite the opposite response. Everything about this grand cathedrals fills me with awe. There is something about a project that won't be finished in a human lifetime -- or even several decent life-spans -- which I find unutterably inspiring, and yes, surreal. These ambitious projects transcend all of our petty human traits: greed, impatience, short attention-spans, the notion of private ownership. With a bit of luck (and lots of money), La Sagrada Familia might be finished . . . more than 100 years after Gaudi died.
Gaudi's work can be seen all over Barcelona, and although it is always described as "modern," it doesn't really suit my mental image (metallic, glassy and sleek) of that word. Supposedly, he drew his inspiration from nature's forms -- but they are terribly strange in his renderings. More often than not, they remind me of the witch's candy house in the Hansel and Gretel fairy tale. Alluring, ornate and a bit nightmarish.
You can look and look . . . but it's as if your eye can't entirely absorb what it is seeing.
From far away, I zoomed in on this tiny piece of the Nativity in the Temple of La Sagrada Familia. Apparently, every little detail has meaning. I think that it looks a bit like an overfrosted cake from a distance, but all of that texture is fascinating if you can home in on it.
Mae West said that Too much of a good thing can be wonderful. But more often, I think that too much of good thing is probably just too much.