The surrealist artist Cristina Burns creates tiny, magical worlds made of skulls, toys, and delightfully kitschy knickknacks; her series Through the Mirror appeals to the subconscious mind, inviting viewers to engage with seemingly disparate materials that together form a strangely cohesive narrative. Inspired in part by the Oniric movement, the bizarre and delightfully pink work allows viewers to make surprising associations within carefully constructed scenes; the familiar and the frightful work in tandem, frantically blurring the lines between fantasy and reality.
Burns’s images, imbued with the innocent connotations of budding flowers, baby deer figurines, and Victorian lace, introduce comically dark elements: a round eyeball, brains served on a platter with a fork. Together, the delightful and the dangerous work to create arrangements that might be viewed as manic and surreal altars to the dead. In one elegant image, a skeleton attracts the attentions of a large beetle, an insect often symbolic of decay, with the presence of budding funereal flowers and sweets.
The meticulous symmetry of Burns’s compositions heightens the idea of supernatural harmony between purity and sin, between life and death. Much of the work centers around a symbol of man and especially womankind’s fallenness: Eve or Snow White’s skull bites an apple, or a mermaid figurine peers woefully at a deteriorating skull at her feet. In this state of death and corruption, there exists too a powerful sense of play, as seen through delicate china mice, candy hearts, and Disney princess dolls. In this way, Burns’s imaginative and feminine dreamscapes capture the allure of mischief, for in our disobedience and fallenness lies a magical sort of madness and celebration.