Publication: Nubes de moscas y abejas. Insectos en Dalí
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1998-06
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Abstract
En la obra juvenil de Dalí (1924-1930) son frecuentes las imágenes de un puñado de insectos: las nubes de moscas y abejas, las voraces hormigas, la langosta inquietantemente posada junto a una boca, o la mantis, con su prestigio de hembra fatal. Estos insectos expresan profundas obsesiones dalinianas en los años previos a su invención de la paranoia-crítica. Van unidos a la fascinación por la podredumbre y la muerte; y a la vez, son una imagen poderosa y horrible del deseo sexual. Las metamorfosis del deseo serán un eje de la obra de la Dalí.
In Dali’s early work (1924-1930), there are recurring images of a handful of insects: clouds of flies and bees, voracious ants, the locust sitting, unsettlingly, next to a mouth, or the mantis, with its reputation as a femme fatale. These insects express profound Dalinian obsessions, in the years leading up to his invention of the paranoiac-critical. They are linked to a fascination with rotting and death; and at the same time, they are a powerful and disturbing image of sexual desire. The metamorphoses of desire would form a focal point in Dalí’s work.
In Dali’s early work (1924-1930), there are recurring images of a handful of insects: clouds of flies and bees, voracious ants, the locust sitting, unsettlingly, next to a mouth, or the mantis, with its reputation as a femme fatale. These insects express profound Dalinian obsessions, in the years leading up to his invention of the paranoiac-critical. They are linked to a fascination with rotting and death; and at the same time, they are a powerful and disturbing image of sexual desire. The metamorphoses of desire would form a focal point in Dalí’s work.