Eggs and Horses and Dreams
May 29, 2019
Leonora Carrington’s work unfurls like a dream, both familiar and not. As in her sui generis short stories, mysterious human-animal hybrids populate the fantastical landscapes of her paintings, speaking in riddles, partaking in oblique ceremonies, eating sumptuous feasts. Blending iconography from mystical and religious traditions the world over, Carrington’s work hints at a hidden all-encompassing language of symbols, one that represents the inseparability of the universe and fertility (eggs crop up repeatedly in her work, as do horses—talking and otherwise). After spending years in the shadows of her fellow surrealists, Carrington has finally received her due as one of the twentieth century’s most singular artists: a museum in Mexico devoted to her life and work, reissues of her deliciously odd books, and now “Leonora Carrington: The Story of the Last Egg,” the first solo exhibition of her work to appear in New York in twenty-two years. The show, an off-site presentation by Gallery Wendi Norris, is on view through June 29 at 926 Madison Avenue, New York, NY, where the gallery will also host a symposium on her work and a reading of Carrington’s unpublished play Opus Siniestrus: The Story of the Last Egg. A selection of paintings from the exhibition—as well as two masks that Carrington designed for the play—appears below.
All images appear courtesy of Gallery Wendi Norris. “Leonora Carrington: The Story of the Last Egg” is on view through June 29, 2019.