RELATED: Take a sneak peek at Meow Wolf’s new mind-bending world It’s a way to step out of our reality and into a new experience, but (that idea) is actually not new.” And immersive art takes this to an extreme through the experience of having the viewer feel like they are walking into the artwork. “Artists are trying to elicit an emotional response to their work. “I would say all artwork is a provocation of sorts,” she said. While immersion art may be new for Kahlo’s work, it’s not a new concept, said Cullen. “If you can bring a person inside your artwork, you’re pulling that person inside your brain and your heart.” “You’re stepping inside her painting, and it gives you a truer sense of what she experienced,” Frésquez explained. The exhibition, which runs through June 5, lets viewers step into the artwork and thus into the fantastical world that was Kahlo’s reality. Photo by Kyle FlubackerĪ new Kahlo exhibition at Lighthouse Artspace Denver portrays each delicate brushstroke on a grander scale with “ Immersive Frida Kahlo.” The walls of the museum serve as a floor-to-ceiling canvas for light projections of Kahlo’s work, allowing visitors to view the art more intimately than ever before. In that sense, the small scale is very fitting to the content in her work.” Disabled by polio as a child, Kahlo was injured in a bus accident at the age of 18, leaving her with lifelong pain and medical problems. “She took to painting to pour her experience into her artwork.
“That (the size of her artwork was small) was largely due to the fact that she was bedridden for much of her life,” said Cecily Cullen, director and curator for MSU Denver’s Center for Visual Art.
Her paintings are physically small and painstakingly detailed.
Kahlo’s art compositions are raw, unfiltered and personal, reflecting the chronic physical pain she suffered for much of her life the emotional torment she endured in her turbulent, all-consuming marriage to Mexican muralist Diego Rivera and her controversial political ideations. “Kahlo was an artist that truly painted her personal experience, including love, pain, torture, culture and politics,” said Carlos Frésquez, a professor in Metropolitan State University of Denver’s Department of Art. She rejected the surrealist title, saying, “I don’t paint dreams or nightmares. Take one look at Frida Kahlo’s fantastical, dreamlike and often-graphic depictions of life, death and pain, and it’s no wonder surrealists saw her art as works of mysticism.īut Kahlo never saw herself that way.
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