Reva Sharon is a Contributing Editor for The Drunken Boat.

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All work in Archetypal Images is copyrighted to Reva Sharon. All rights reserved. No work may be copied in any medium without written permission.
Reva Sharon


“Whoever speaks in primordial images speaks with a thousand voices. . . This is the secret of great art. . . the unconscious activation of an archetypal image and. . . elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, so makes it possible for us to find our way back to the deepest springs of life. Therein lies the social significance of art; the artist is constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking. The. . . artist reaches back to the primordial image. . . which is best fitted to compensate the inadequacy and one-sidedness of the present. . . seizes on this image, and . . . brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers.”
—C.G. Jung, “On the Relation of Analytical Psychology to Poetry”


Archetypal Images


88888 The images that appear here are from a collection of my digital artwork that I call Archetypal Images. It is not an attempt on my part to create new symbols, but to call upon what is latent and give form to what lives beneath the surface and in dreams. I have been touched deeply by those first painters on cave walls, the early crafters of pottery, the weavers and stone cutters. I acknowledge the influence as well of more modern artists whose work has roots in the same sources like Blake, Baskin, Chagall, Gauguin, Pollack, Hundertwasser, Redon, Rousseau, Van Gogh and many, many others. They all seem to be with me when I start a new image. I do not start out with a preconceived idea but discover as I work — as I do in another manner when I go out to photograph. I recognize potentials and develop them, keeping in touch with my inner sources.
88888 I have been fascinated with mythic and archetypal images all of my life. During my childhood in Brooklyn I would “hang out” at the Brooklyn Museum which has wonderful collections of pre-Columbian art, and early Egyptian art and artifacts. I was entranced and in awe of these works that had survived the centuries, conceived in the minds and made by the hands of people so long ago, and which revealed their cultures in powerful imagery. In The Museum of Natural History I was stunned by the totems of the Native Americans of the northwest. I love the pottery and rugs of the Pueblo peoples of the southwest, and the tales of the tribes of the east coast. I am captivated by the Dreamtime of the Australian Aboriginals, by the carvings of the Eskimos, by the masks from Africa. And I read again and again the tales and legends of my own people.
88888 I have found it especially fascinating to explore the chaos and tangled memories found in the subconscious, to reach into the “springs of life” to create images that recall beginnings using a medium born of modern technology. Even in this modern age, the “dreamtime” still lives in us.


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