‘It’s never too late to mend – the fact that I am ignored in my own country.’

Leonora Carrington

We can change this…Sit back and read why she is so important to us.

‘This event will provide the community with a ‘way in’ and a space to view, experience and learn about this important woman, artist and writer. By creating a multi layered, immersive experience using a wide range of media, we can ensure there will be something for everyone, whether they are fans of art and theatre, or simply curious.’

Jenny Fear (Artist from The Leonora Carrington Series).

Leonora Carrington – like many other female surrealists – are now only beginning to get the recognition they deserve – Carrington was born at a time when art was about to experience new movements – new ideas – new beginnings; little did she know that she would be part of one of the most influential movements in art and theatre culture – The Surrealist Movement (1920-late 1950s). Upon the surface, the movement promoted a wealth of independent new ideas – for the men however, not the women. Women were the inspiration, the stimulation for the males’ ink – creation – but, as we know, this circle was harbouring some of the most formidable female artists and writers of the 20th Century – The female surrealists.

There were many, if you have a desire for surrealism or want to know more, check out other incredible female surrealists: Dorothea Tanning, Leonor Fini, Frida Kahlo, Lee Miller and Leonora’s dear friend – Kati Horna who also lived in Mexico and was part of the ‘surreal friends’ friendship group.

Significant moments began with her reading of the famous ‘Surrealism’ by Sir Herbert Read, who in 1936 orchestrated the international Exhibition for all things surreal. This was the start of Leonora’s interest in Max Ernst who is famous for his contribution to the surrealist movement – famous works being The Elephant Celebes. She felt connected to this movement and in particular the freedom of thinking and being. To most, the surrealists were considered unhinged and a potential threat – this was magnified during World War II, when some surrealists were captured and labelled as ‘the undesirables’ – including Max Ernst (1891-1976).

“I hoped that my sorrow would be diminished by these spasms, which tore at my stomach like earthquakes.” Leonora Carrington

At the time of Carrington’s awakening and evolution as an artist, she was still associated with her lover – famous and influential artist – Max Ernst. Ernst was a great influence on Carrington’s work and they shared a dear bond, that influenced some of her most famous works – Portrait of Max Ernst (1939). In her later years, she cared less about the association and reminded interviewers that she didn’t wish to be discussed as gossip. Their time together was documented in famous photographs, which upset her family at the time, which resulted in her families attempt to arrest Ernst.

Carrington lived to the age of 94, where she surrounded herself with a simplistic way of living – residing in Mexico City – in the neighbourhood of Cuauhtémoc – it was here that Carrington sought solitude and peace and remarkably survived an earthquake that damaged her whole street but left her home untouched. She continued to make work – working on sculptures until her later years, including ‘The Palmist.’ However, it appears Carrington forever felt a sense of restlessness, as she never returned to her homeland – the bounding vast county side of Lancashire – stating, ‘she was never going to set foot on the same continent’ as her family again. Carrington’s fall out with her family is clear – the conflict, the need for control and the damaging decision to have her confined to an asylum during WW2.

“If there was one Country where my mother was very comfortable was art. That was her Country.”
Pablo Weisz