art

Denver Art Museum: "Ann Gardiner with Her Eldest Son, Kirkman"

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Nathaniel Hone
British, 1718-1784

“Ann Gardiner with Her Eldest Son, Kirkman
1776
Oil on canvas
Gift of the Berger Collection Education Trust, 2019.16”

“Portraits that represented their subjects as allegorical, mythological, or biblical figures were popular in the late 1700s because they communicated the sitter’s (or patron’s) knowledge of history and culture. In a portrait likely commissioned by her father, a prominent Irish politician, Ann Gardiner and her son posed like an Italian Renaissance Madonna and Child. The boy’s toga-like garment and the classical column in the background also allude to images of Venus and Cupid from Greek mythology.”

Photo taken at Denver Art Museum, July 28, 2019.

Deconstructing “The Origin of Life” by Salvador Dalí

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I am not aware of when my father, Joan Oró, came to know Salvador Dalí. Both prominent Catalans, they likely knew of each other's work. Possibly, they met in the late '60s or early '70s. Nevertheless, at some point, Oró asked Dalí if he would create artwork for two scientific meetings planned for June 1973 in Barcelona, Spain. Dalí agreed.

The resulting mixed media piece is stunning in its execution and insight. Containing only eight elements, it succinctly encapsulates the origin of life on Earth, the only known life in the universe.

Professor Joan F. Oró

To understand the artwork, a bit of background on the life of Joan (John) Oró. (Catalan pronunciation of Joan.) Born in 1923 in Lleida, Spain, Oró obtained his degree in chemistry, with a focus on organic chemistry, at the University of Barcelona in 1947. He married Francesca the following year and over the next five years, the couple had three children: Maria Elena, Joan (this author), and Jaume.

Together with colleagues, Oró established a series of small chemical manufacturing businesses that produced soap, chemicals for the pharmaceutical industry, and antiseptics. Each business was challenging. Not wanting to request more funding from the family, his childhood dream of studying the origin of life began to re-awaken. Given the confined nature of science in Spain during that era, Oró knew he would have to move. He submitted over 50 applications to universities throughout the US. Of the six schools accepting him tuition-free, Joan selected Rice Institute in Houston and moved to the US in 1952.

Partway through his first year at Rice, Oró met prominent Baylor College of Medicine scientist Donald Rappaport and was recruited into Baylor's Ph.D. program. There, he immersed himself in biochemical research that would become fundamental to his later discoveries in life's origin.  

Following his training at Baylor, Oró joined the University of Houston as a professor of biochemistry in September 1955. In January 1958, he was able to bring his family to the US, where the couple's fourth child, David, was born.

Origin of Life Research 

In 1959, Oró was working to extend the experiments by Stanley Miller in Harold Urey's lab at the University of Chicago. Miller and Urey’s studies had revealed that organic matter, specifically amino acids, could arise from a non-organic pre-biotic soup. This demonstrated that inorganic matter, in the right conditions, could turn into organic matter, the matter of life. Influenced by his understanding of cometary composition, Oró had added additional compounds to the mix. As described in ABC CIENCIA: 

On Christmas Day 1959, Oró performed an experiment in his laboratory that would be crucial to the study of the origin of life. With the intention of reproducing the conditions that existed on Earth 4 billion years ago, Oró exposed to heat and ultraviolet light a solution that contained hydrogen cyanide and other chemical compounds that are usually present in comets. The chemical reaction he induced in his laboratory produced amino acids, the basic "bricks" of proteins, as predicted by current theories.

The surprise was that in that chemical reaction was also synthesized adenine, one of the four chemical bases that make up DNA (deoxyribonucleic acid), the molecule of life.

Since the production of adenine, a nucleic acid within our DNA, was beyond what Oró considered possible, he thought it must have been a contaminant. Upon rigorously repeating the experiment, there it was again! A bright spot on the chromatograph at the precise position of adenine. It would be one of the happiest moments of his life. 

Original mixed-media creation on the left. Now aged with time. Poster for the two 1973 meetings held in Barcelona, Spain on the right.

Original mixed-media creation on the left. Now aged with time. Poster for the two 1973 meetings held in Barcelona, Spain on the right.

“The Origin of Life”

While the academic environment in the US nourished his scientific work, Oró was also dedicated to advancing science in the country of his birth. Thus, 14 years following his seminal 1959 experiment, he was organizing an origin of life conference in Barcelona, the stimulus for Dali’s mix-media creation.

If Dalí’s artwork had a name, I never heard it. For me, it can only be “The Origin of Life.” At its base, Dalí incorporated a soft melting watch present in various forms in a number of his paintings. In the view of Dawn Adès of the Department of Art History and Theory at the University of Essex:

The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order.

In my father’s explanation, the soft watch - also referred to as a melting clock - located at the base or the artwork represents the beginning of time and the origins occurring within it.

Enantiomers & DNA 

Above the melting clock are two crystals representing optical isomers, also known as enantiomers. Like a right and left hand, enantiomers are non-superimposable mirror images of each other. This handedness of biological molecules is known as chirality.

(To better understand chirality, imagine a spiral staircase. Most often, they are left-handed, turning to the left as one descends downward. “According to one theory, the staircases are left-handed to allow right-handed people to hold onto the railing and walk on the outer, wider part of the steps when coming down the stairs.” Left-handed spiral staircases are similar to right-handed spiral staircases but are not the same. They are mirror images of each other, thus are not superimposable. Humans preferentially choose to create left-handed spiral staircases. But why are DNA and RNA almost exclusively right-handed instead of a mix of right and left-handed versions? The most recent theory: cosmic rays.)

Returning to the question of life, Suzanna Kohler writes

Living organisms are homochiral, being built almost exclusively from left-handed amino acids and right-handed sugars and nucleotides which preferentially construct right-handed DNA and RNA.

Would life “work” if DNA and RNA were instead formed in their mirror images – that is - left-handed? In Wonderland, Lewis Carroll’s Alice wondered as much. As described by Professor Anna Proykova

Chirality held Alice's attention as she pondered the macroscopic world she glimpsed through the looking glass, and her musings over whether looking-glass milk would be good to drink presaged our quest to understand the molecular importance of chirality.

The next component of Dalí’s piece is a coral red wreath. On Dalí’s original creation (above, left), the wreath appears to be a photograph Dalí cut and coiled to suggest a helix. This simple, yet powerful element represents DNA, the self-replicating core of almost all known life.  

Via DNA and natural selection, life exploded into the beautiful array present in our world. Dalí’s representation of this unimaginable blossoming by using a butterfly wing is genius.

The Dali Crown

At the apex of the piece is the artist's signature seen flowing into a crown. The crown’s origin: a photograph of a drop of milk

Fascinated by both illusion and science, the artist was captivated by a famous 1946 stroboscopic photo of a drop of milk by American engineer Harold Edgerton, in which the splash appears to take the shape of a coronet. He based his image on that famous close-up. Both a Catholic and a supporter of monarchy, Dalí saw a variety of literary, religious, and theatrical connotations in the shape.

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Jacob’s Ladder 

Of the eight elements  in Dalí’s artistic creation, Jacob's ladder is the most intriguing. The ladder is represented here by an angel seen standing on each isomers. In the Book of Genesis, a ladder leading to heaven appeared to Jacob in a dream:

Jacob went out from Beer-sheba, and went toward Haran. And he lighted upon the place, and tarried there all night, because the sun was set; and he took one of the stones of the place, and put it under his head, and lay down in that place to sleep. And he dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven; and behold the angels of God ascending and descending on it.

Inclusion of the two angels – one reflective and the other caressing - represents the role of divine providence in the creation and blossoming of life.  

At center, in a white shirt and bowtie, is origin-of-life theorist Alexander Oparin. To his right is Joan Oró. To his left is to Salvador Dalí. Dr. Oró's wife Frances Oró is to the right of Joan Oró. Photo: Figueres, Catalunya.

At center, in a white shirt and bowtie, is origin-of-life theorist Alexander Oparin. To his right is Joan Oró. To his left is to Salvador Dalí. Dr. Oró's wife Frances Oró is to the right of Joan Oró. Photo: Figueres, Catalunya.

Simplicity & Beauty

The relationship between Joan Oró and Salvador Dalí resulted in a fusion of art and science. Dalí’s creation graced posters for the 4th International Conference on the Origin of Life and the program proceedings. Their successful partnership led to other scientific and medical artistic creations. In an interview while in his seventies, Joan Oró summarized his impression of Dali’s contributions:

The simplicity and beauty of the works show a deep understanding ‘expressed in a way no scientist could.’

Dali’s The Origin of Life piece is the property of the Fundació Joan Oró.

John Oró, MD, FAANS

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ARTIST INTERVIEW: DENVER'S ALIKI MCCAIN

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With eight art districts in the city, and the upcoming Crush Walls 2020, Denver’s art scene is vibrant. It’s recognized hub - the Santa Fe art distric. On June 10, 2020, I had the opportunity to interview Aliki McCain in her studio on Santa Fe Drive. 

When did you find out you were interested in art?

I've been interested in art all my life. I sold my first piece of art when I was in fifth grade. My art teacher bought that piece from me. He approached me and wanted to buy it. I have had a keen interest in art, I have always been creative from a young age. I lived in Europe for quite a few years, and I think that also was an influence. I traveled to many museums; I saw the Three Graces when I was a young child, and other famous statues and paintings. I always had a real interest in art.

What is your background? Self-taught or course work?

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I am an art history major and a fine-arts major. Initially, I wanted to teach art history. I put myself through school at UC Irvine and pretty much ran out of funding. It was going to be another seven years of school to get my Ph.D. in art history, so I took the role of applied arts.

It wasn't an easy decision. When I was young, my stepfather was always very negative about my interest in art; he always said, "Oh, you will amount to nothing; that's a foolish thing to do." I think that this is typical for some families; parents want their children to follow a more traditional role and want them to be financially stable. The purpose of artists in society has always been somewhat fickle, one where they can't always make ends meet. You always hear about the starving artist. So I wasn't encouraged to follow art. I paid for my education, and I decided that I was going to follow what I was passionate about.

How do you work? Paint, canvas? Another medium? 

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I don't like to be boxed into any one thing. I am primarily a painter, but I do a lot of mixed media. I work with wood. I work with clay. I like to embed things in my paintings. As you can see here, there's rocks and stones, bark, and things that I find that appeal to me. I like texture in my paintings.

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So there isn't any one particular medium for me, but I do primarily paint in acrylic paints, and I like to paint on board. I do paint on canvas as well, but I prefer board. I like how firm it is. I can get very aggressive with painting.

I use these types of brushes. As far as the process, for me it's getting in there, getting hands-on, that's really exciting for me. I like to think I bring the energy to the canvas or the board; the surface. I like to really get in there.

Do you work in a particular style or various styles?

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I was trained as a photorealist. I did that for many years. It was a really enjoyable period of my art process, but at some point, I got to the place where I wasn't feeling the challenge anymore. It became easy and repetitive. That, for me, isn't what art is about. Art is a creative process, and it's problem-solving. Sometimes we create problems for ourselves in the art process, and sometimes the problems pose themselves. It's always about solving that problem on this surface with a particular painting.

I never wanted to get pin-holed into one style per se, but I did push myself to venture into abstract painting. It's been a lot of fun for me because I love color. It's been a great way for me to explore color and work with different palates and to also problem solve in a different way because you still have to bring the same principles of art to the process. You have to have an understanding of composition, and color, and line, and shape, and all the things that are present within any type of painting. It still has to be there, or else you won't have a successful painting. So it's the same thing, but just thinking abstractly. It's been exciting for me, and it's only been in the last 10 to 15 years that I have started abstract painting.

What is the latest work you completed?

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These two (the paintings on the floor on either side of Aliki) were actually created during COVID. I'm excited about them because sometimes people think "Oh my gosh, it's a really dark time. We’re in COVID. Does your art reflect what's happening?" It does, but I chose to find a happier place to be and a more positive place to rest myself during the struggle of being inside, being really locked in. These two paintings, I really like them a great deal. I like the palates, I'm excited about the positive energy that comes out of them.

These three panels are three pieces that I worked on with Access Gallery. I teach over at Access Gallery, a non-profit for students with disabilities. We take people with disabilities that are artists, and we broaden their opportunity to get their art out to the community.

In this case, we were commissioned by a financial firm downtown. They wanted three pieces that were going to go into their conference rooms. We just need to get them framed. It's been difficult with COVID. 

It's really fun working with this organization and it brings a lot of happiness. It's a great thing for me to be able to have that outlet, to be able to put my skill set to a purpose. (Does this paragraph refer to Access Gallery or the financial firm?)

What is your next project? 

My next project is for a show in September. It revolves around the book Where the Crawdads Sing by Delia Owens. I've been asked to join a group that's going to bring visual imagery to the book. We are responding to the book as the prompt. That's going to be my next project.

Who are a couple or so artists you admire?

(Wassily) Kandinsky was always my first love in art. He wrote the book concerning the spiritual in art and also is probably the most renowned color theorist in the art world. He had a big influence on me and the way I approach art.

It's hard not to be influenced or think of Picasso as the great artist. Someone who had a style, but also someone who reinvented himself constantly. He didn't fall into the trap of having one voice. He used his work for beautifying things all the way to making political statements, and everything in between. I feel as somewhat of a kindred spirit with him in the way he approached art and the way it can be used. Some people think that art has to be used for beautification, or art should be used as a voice, as a platform, or is just self-serving. I think there much to think about when we think about art. Ultimately, I think it's a reflection of what's happening in society, or with the artist and where they are.

Right now, with what is happening socially, you will see many artists stepping up and making social commentary. It will be impossible not to. Music will have lyrics that represent something. 3D and 2D artists will start putting their voices out there. But it doesn't happen for all artists. It is individual. For me, the cherry on top is working with students with disabilities. It is a lovely thing for me. I learn so much from them, and hopefully, they learn a lot from me too.

(The interview was lightly edited for clarity.)

John Oró