Tag Archives: Carl Jung

In The Studio With Conceptual Artist Margaret Innerhofer

A behind the scene look of the conceptual artist’s solo show SHADOWLAND
It is the first Saturday of Upstate Art Weekend and I am standing in a chemistry classroom of a former public school looking at inverted works, listening to Gregorian chants meets Jimmy Hendrix inspired music, and feeling that I am falling into a trance. In reality, I am meeting the artist Margaret Innerhofer for the first time at her solo show SHADOWLAND, at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. The renowned gallery describes her exhibition as:
“Photo-based prints and framed canvases that explore the transitional spaces between spiritual and psychological borderlands. Each of the large-scale meditative compositions printed in color has a jarring and surreal black and white reflection that invites the viewer into an alternate psychological and temporal dimension.”
So, what is behind these works laden with heavy and deep symbolism of awake versus sleep? I sat down with the elegant and stylish Margaret to understand how a dreamy child from the Tyrolean mountains became a philosophical artist in Beacon, NY. It turns out that we are all in a trance.
SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon
Let’s begin with your upbringing. Where were you born and raised? 
I was born, and raised in the Tyrolean Alps, Italy, immersed in the idyllic beauty of its nature and harmonious sounds. My childhood was filled with long mountain climbs, horseback riding, yodeling, playing the guitar and drums, and singing Gregorian chants in a strict convent boarding school.  I found fascination in Western movies and the Apache Indian lifestyle, particularly their deep connection with nature and the imagery of wild horses roaming freely in vast deserts, accompanied by their rhythmic chants and drum circles.
These early experiences forged a profound bond with the natural world, which continues to be a driving force behind my visual and sonic artistic expression.
SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon
What was your first introduction to art, and how did you start evolving as an artist?
During my Architectural and Fine Art studies, I relocated to Milan, a city that would leave a lasting impact on my artistic path. Dating an artist during that time exposed me to a bohemian lifestyle and immersed me in Milan’s dynamic art, architecture, and design scene. The conceptual and minimalist concepts of the Arte Povera Movement captivated me, drawing me deeper into the contemporary art world.
Socially engaging with fellow artists and actively attending art shows in galleries and museums across Italy and Europe, I was inspired by the diverse expressions of creativity. My early fascination with photography, particularly the works of conceptual artists from the Dada and Surrealist Movements, like Man Ray and Andre Breton, further fueled my artistic interests.
This multifaceted exposure played a pivotal role in shaping me as an artist. It broadened my horizons, offered fresh perspectives, and allowed me to find my own artistic voice.
DECONSTR-ACTIVIST II, 2023
You now have a solo show called SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. What is the main inspiration for the three different series: SandmenHeavy Metal, and Deconstr-Activist
In my latest exhibition, I delve into the intricate realms of the subconscious, guided by profound philosophical and scientific readings. Carl Jung’s exploration of collective consciousness has deeply fascinated me, leading me to explore how our subconscious influences our waking decisions and movements.
Through my artwork, I seek to unravel the enigma of our subconscious control, drawing inspiration from scientific research, which reveals that a significant 80% of human behavior is governed by our subconscious, heavily influenced by experiences from our formative years, particularly ages 0 to 10. This revelation sheds light on why logical arguments may often be overshadowed by emotional reactions rooted in the gut.
Another crucial thread in my exhibition revolves around the environment. I have been an environmental activist well before it became a trend, and I’ve actively co-produced environmental films and fought against practices like fracking. In SHADOWLAND, the subjects in my works interact with nature, and, in many instances, nature appears to reclaim them. This theme highlights the fragile bond between humanity and the natural world, provoking contemplation on our relationship with the environment.
Is it this exploration into the subconscious why the artworks are designed to be inverted? That they can be hung in either vertical orientation?
As I present my art to viewers, I give them the unique opportunity to evoke different visual and emotional responses by allowing them to choose how to hang each piece. They can opt for the color side up, revealing a figurative and realistic view of the artwork. Alternatively, they can explore the more conceptual, surreal, abstract, and volumetric perspective of the black-and-white ‘Shadow image’ when it faces upward.
What’s intriguing is that showing the ‘Shadow image’ facing up, actually, represents a more realistic worldview, one that most people might be unaware of. It’s a perspective that delves into the subconscious, which I believe rules humanity and ‘runs the show.’ It’s a fascinating paradox: while the color side portrays the conscious perception of the world—what’s readily visible—the ‘Shadow image’ uncovers the hidden depths and complexities that shape our lives.
By offering this choice of orientation, I invite viewers to question their own understanding of reality and delve into the intricacies of their subconscious minds. This art goes beyond mere aesthetics; it prompts introspection and contemplation, creating a multi-layered experience that challenges us to consider the complexities of human perception.
DECONSTR – ACTIVIST III, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,109.2 x 109.2 cm, 43 x 43 in, Edition of 3
Looking specifically at the three different subjects, can you first tell us more about Deconstr-Activist?
My Deconstr-Activist series draws inspiration from the ‘Deconstructivism’ architectural movement, challenging the rationality of modernism and embracing and revealing chaos and complexity. I delve into the intriguing world of shadows, volumes, negative versus positive space, and the interplay between light and darkness. This exploration stems from my background in architecture, which ignited my fascination with these artistic elements.
Throughout the series, I endeavor to capture neglected structures that are gradually being reclaimed by nature. By doing so, I aim to shed light on the physical structures we create to accommodate our fragmented psyches. The juxtaposition of abandoned structures being overtaken by nature serves as a compelling visual metaphor for the inherent fragility and impermanence of human constructs.
HEAVY METAL – VOLKS WAGEN, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,109.2 x 109.2 cm, 43 x 43 in, Edition of 3
What about Heavy Metal?
In my “Heavy Metal” series, the transition from the pristine mountain range to the Hudson Valley exposed me to a striking contrast—defunct cars replacing the beauty of flowers in many backyards. This encounter sparked an obsession, leading me to spend years capturing these scenes with vintage analog Leica cameras, which I acquired from flea markets, embracing the slight imperfections in their lenses as a welcomed artistic element.
In this body of work, I explore my fascination with American vintage cars left abandoned and outdated, captured within the passage of time and the encroachment of nature. Each photograph alludes to the poignant collision between the past and the future, symbolizing our own embodiment within these vehicles that are increasingly outdated, yet perpetually trapped in the present.
In “Heavy Metal,” I seek to evoke a sense of nostalgia while urging reflection on the transient nature of our material possessions and the fleeting nature of human creations. The juxtaposition of these forgotten vehicles with the ever-encroaching embrace of nature serves as a poignant reminder of the impermanence of all things, urging us to ponder our place in the grand tapestry of time and the inescapable passage into the unknown future.
SANDMEN III, 2023Signature on the back. Archival Pigment Print on Hahnemühle Cotton Canvas,152.4 x 152.4 cm, 60 x 60 in, Edition of 3
And finally, what can you tell us about Sandmen? 
Within each frame, beachgoers blissfully inhabit the horizon, seemingly unaware of their inverted doppelgängers lurking just below the surface. This juxtaposition of colors and reflections becomes a visual metaphor for the duality of human existence—the conscious experience of the moment above the surface and the hidden depths of the subconscious below.
Drawing inspiration from Carl Jung’s concept of the Shadow persona and Quantum Physics, I explore how these profound elements influence human actions and behaviors. The dreamy beachscapes serve as a canvas for contemplating the interplay between our conscious and unconscious selves, the tangible and the intangible aspects of our existence.
In this series, I invite viewers to immerse themselves in the enigmatic world of “Sandmen,” where time seems to stand still, and the boundaries between reality and imagination blur. The photographs become a gateway to introspection, inviting you to reflect on the transient nature of human experiences and the profound complexities that shape our perceptions and actions.
What is your favorite piece in the show and why? 
As an artist, it’s challenging for me to pick a favorite, each image represents a moment of inspiration, creativity, and a reflection of my inner world. Each image carries a distinct essence, resonating with different viewers in various ways. 
Together with the sound piece ‘Shadowland’ that I have composed, performed, and recorded specifically for this show, the fusion and synergy between my visual art and sound adds a multi-dimensional layer to the overall experience. 
The fusion of visual and auditory expressions allows each piece to resonate on a deeper level, connecting with viewers in unique and profound ways.
SANDMEN II, 2023On the back. Archival Pigment Print on Hahnemühle Cotton Canvas,152.4 x 152.4 cm, 60 x 60 in, Edition of 3
What is next on the horizon? 
A beach vacation in Italy, is on the immediate horizon! 

Ways To Retrain And Put Your Adult Brain Back In Charge

Jungian Psychology uses art-therapy, dreams and imagery in mapping personal and collective unconscious, archetypes and complexes. Jung believed that there were fears and thoughts that children and adults exhibit that are "remarkably similar across time and culture" (allpsych.com) image: skycladtherapist.files.wordpress.com
Jungian Psychology uses art-therapy, dreams and imagery in mapping personal and collective unconscious, archetypes and complexes. Jung believed that there were fears and thoughts that children and adults exhibit that are “remarkably similar across time and culture” (allpsych.com) image: skycladtherapist.files.wordpress.com

The human brain is a wonder of the universe, but our understanding of it can seem contradictory, says Steven Jay Fogel, author of the book Your Mind Is What Your Brain Does for a Living.

“On the one hand, we’re often told of those crucial years that our brain develops in childhood, when we’re rapidly progressing in development of our language and other skills, and our preadolescent and teenage years, when our brains undergo a sort of second Big Bang of learning,” says Fogel, (www.StevenJayFogel.com).

“But although it may seem that the brain is pretty much set by adulthood, it remains malleable throughout adulthood; it continues to change as we learn and adapt.”

Most of us are unaware that elements of our inner child’s development are constantly tugging at us, and we don’t have a clue that it’s happening, he says. In Jungian therapy there’s a concept called the dark side, or shadow side, the place in our unconscious to which certain feelings and thoughts are banished because they don’t support our image of ourselves, he says.

Steven Jay Fogel is a longtime student of human behavior and development.
Steven Jay Fogel is a longtime student of human behavior and
development.

“That is our inner child responding to the emotional pain we experienced and interpreted with the limited understanding we had when we were very young. It continues to steer our reactions and behavior as adults, often in inappropriate ways,” Fogel says.

Awareness creates an opportunity for change. Fogel reviews how our adult brain can take command of the inner child:

• Recognize the elements of your self identity that keep you trapped. Our identity – how we want the world to see us – develops, in part, as a response to avoiding pain. Our identity may change from one situation to another (in the same way a chameleon changes its body color to match its surroundings) as we slip on the persona we believe is expected in a particular environment or social setting. This automatic behavior is the opposite of making mindful choices, and it robs us of the joy of living in the moment and inhibits spontaneity.

• Be aware of when you’re acting. Many of us live our lives as though we’re playing parts in various movies, navigating different storylines every day. You may be the righteous Clint Eastwood manager at work and then shift into the town drunk during happy hour, and later the loving husband and father during brunch the following weekend morning. When you’re playing these roles, you’re not in the present.

Be skeptical of what the voice in your head may tell you. It’s not easy to recognize and quiet the mental chatter associated with the different roles we play. We’ve become so accustomed to the voice in our head, that we don’t realize its messages are programmed – and not necessarily the truth. Is your voice telling you to feel guilty? Ashamed? Angry? Is that rational? If not, it may be your inner child acting out of a childlike fear.

“Instead of simply responding to what we’re hardwired to think and react, we can hear, in mindful repose, those promptings as simply chatter,” Fogel says. “When you’re mindful, the inner child’s chatter can be seen for what it is, and you will be free to take a more mature directionin your day-to-day living.”

Steven Jay Fogel is a longtime student of human behavior and development; he has studied with psychologists, educators, and rabbinical scholars. Your Mind Is What Your Brain Does for a Living, (Greenleaf Book Group Press, 2014), is his third book. He is also the author of My Mind Is Not Always My Friend: A Guide for How to Not Get in Your Own Way (Fresh River Press, 2010) and The Yes-I-Can Guide to Mastering Real Estate (Times Books-Random House). For decades he has been an active participant in the human potential movement, inspiring and mentoring others to seek their true selves. Fogel is a principal and cofounder of Westwood Financial Corp., one of the largest owner-operators of retail properties in the United States. He is a licensed real estate broker and past chairman of the California Arts Council.

Supplemental- Synchronicity is the experience of two or more events that are apparently causally unrelated or unlikely to occur together by chance, yet are experienced as occurring together in a meaningful manner. The concept of synchronicity was first described in this terminology by Carl Gustav Jung, a Swiss psychologist, in the 1920s.
The concept does not question, or compete with, the notion of causality. Instead, it maintains that just as events may be grouped by cause, they may also be grouped by meaning. A grouping of events by meaning need not have an explanation in terms of cause and effect.

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