Nouveau Mexican
Nouveau Mexican A Cruise Review – the Mexican Riviera on the Carnival Spirit The ship from our best cruise prices experiment is in good shape and obviously well maintained. As is usual on ...
Nouveau Mexican
A Cruise Review – the Mexican Riviera on the Carnival SpiritThe ship from our best cruise prices experiment is in good shape and obviously well maintained. As is usual on a ship there were people cleaning constantly. In reading these boards I was actually expecting a much “gaudier” décor than we found. It is lively and colorful, but all in all I think it works. The traffic patterns were all good and we found it easy to get around. Demographics – There are very few children on board this week. They did have Halloween activities for them, but we seldom saw most of them. In general, this was a much older group than I was expecting with a great many seniors and it did appear to us that most of the passengers were in the 40 – 60 age range. Our stateroom was fantastic and so was the cabin steward. Best cruise prices or not, I do not think we have ever had a better cabin steward than Wayan!! He not only put up with all our decorating and antics, (we had a few Cruise Critic party’s) he was happy to help with the pranks and to join in the fun. Our stateroom was always immaculate and we never had a request that was not fulfilled immediately. We loved this stateroom. Again, aft cabins are not for everyone and in fact, one member of our group said he never used his balcony because it was too noisy. I have read differences in opinion on the configuration of the aft wrap cabins on the spirit class ship because it is really cut into a living area, the bathroom/dressing area and the bedroom. We found this to be a great configuration and enjoyed it immensely. The mattresses rival the ones on HAL and I hope Carnival gets on the stick and makes the change on Princess too. They were very comfortable. You wouldn't know it was a cheap cruise by the stateroom we had. The food on the ship was hit-and-miss Cruise Ship Food – This is probably the single most subjective area on reviews of a cruise. As with every cruise, we found some things we loved and some things that were just awful. We enjoyed the Nouveau Supper Club and will be going for the second time tonight. The dining room was really a hit and miss affair. Some wonderful dishes (the lobster was as good as any I have ever had at sea) and some not so good ones (most of the beef dishes.) I will state right here and now that I am in the very small percentage of people that did not like the chocolate melting cake, again personal preferences. The Buffet was identical and limited every morning for breakfast. (We were never up early enough to make it to the dining room) The lunch was varied and had some good things and some not so great but again it is easy to pick and choose at a buffet. We liked the pizza and the hamburgers and the pasta. We enjoyed having soft serve ice cream available. We found the service less than ideal Service and Staff – This is where we hit the real problem areas. We never saw the CD out and around on deck. He was at some games and some trivia etc, but as far as meeting and greeting passengers, none of us saw him. Our waiter was arrogant and uninterested although his assistant was wonderful. On Halloween, the CD said in an announcement if you didn’t bring a costume just grab a sheet or make something up. So one couple in our group did just that. They fashioned togas, the gentleman’s shoulder was bare but the wife’s was not. The Maitre De refused to allow him in the dining room. What was up with that?? When all was said and done, the only people that we felt deserved extra tips were our steward and assistant and the dining room assistant. That has never happened to us before. The best cruise prices but not the best communication Communication – The order and some of the hours of the itinerary was changed. Apparently some people got flyers about this at embarkation, but most did not. No general announcement was made and the only place we ever saw it in writing was the reservation for shore excursion form. How simple would it have been to include a piece of paper with the first capers?? Also, I can actually read my own capers, I found it annoying that the CD read the whole thing over the loudspeaker each day. We didn’t go to the entertainment. We did have a ball at the Piano Bar with Steve, and I saw the question about whether he would still be here in January, I will be there tonight and get an answer. If I see the CD I will ask him too, but I am not holding out much hope. Embarkation was a mess, but it was people being humans. Embarkation was a mess, but that was a fluke. It would, however, have been much smoother if so many passengers had not insisted on bringing their luggage on board with them and completely clogging the passageways to the gangway while waiting for their zones to be called. The flip side of that, we got our luggage much quicker than expected, I am not sure they had much to deliver. The cruise in general… I don’t remember reading a few things that surprised me on these boards so I will mention them here. We had two sign and sail cards with different numbers on the same credit card. Every charge that my husband made was on his folio on the TV and also on my folio so it looked like it was charged twice. This caused many passengers to crowd the pursers desk for an explanation the first couple of days. Also, the pursers desk does allow a check to be cashed for $5.50 / $100.00. So if you wanted $400.00 it would cost you $22.00. Not the best cruise prices. Overall – We have enjoyed ourselves. Our group from cruise critics, many of whom have sailed together before had a ball with all our goings on and antics. Would I cruise Carnival again? Yes, if this group decided that that would be next years cruise. I would pick a different line for my husband and myself because we did find some of the things that we value most in cruising to be lacking. About the Author Cruise reviews of our cruise ship vacations aboard most of the cruise lines: Cruising the Mexican Riviera Our cruise to the Mexican Riviera aboard the Carnival Spirit. Pictures of the Egyptian Pyramids: Pictures of Egyptian PyramidsSee photos of the pyramids, the Sphinx, and more. |
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Canadian artist Fiona Dunnett: Images of self and death in Oaxaca are muted by comic style and collage
Alvin Starkman, M.A., LL.B.
Comic strips, a young Canadian’s self portraits, and photographs of violent deaths in a Mexican daily newspaper, make strange bedfellows. But they constitute a major part of the driving force for the creative energies of artist Fiona Dunnett, a resident of Oaxaca, Mexico.
Ottawa-born Dunnett has been living in Oaxaca since 2005. As in the case of so many artists who now reside in this city in southern Mexico, her arrival has been rather circuitous. And like so many others, her artistic talent has been influenced at virtually every stop along the way. At age five she left Canada for Bangladesh with her Canadian diplomat mother and the rest of her family. After three years it was back to Ottawa, and then a further three years in Zimbabwe.
“When I left Zimbabwe I felt close to South Africa. I took a course in stone sculpture while there, so yes, I suppose living in Zimbabwe has had somewhat of an influence on what I do today,” she surmises. But it was her upper level academic training, first at the Canterbury School of Arts, followed by British Columbia’s University of Victoria from which she graduated with an Hons. B.A. in Fine Arts, which exposed her to the personages who have impacted her creativity the most.
“I’ve had a strong interest in the work of Gustav Klimt [1862 – 1918],” Dunnett reveals. The Austrian symbolist painter was one of the most prominent members of the Vienna Art Nouveau movement, yet a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: “But it’s Lichtenstein whose art I’ve actually made more of a conscious effort to respect and carry forward, imprinting it with a bit of my own personality and life experiences.”
Roy Fox Lichtenstein [1923 – 1997] was a prominent American pop artist, whose work was heavily influenced by both popular advertising and the comic book style. The latter clearly shines through in Dunnett’s more recent works, and in an earlier piece which graces a wall in her home in Oaxaca’s Xochimilco neighborhood which she shares with her boyfriend and three others: “That one’s based on a dream I had, certainly with overt comic book imagery; in the particular dream there was a calenda (parade), with bodies being dragged through the streets. I once did a series based on my dreams. I dyed the red sky forming part of the background of this canvas with cochineal [the minute insect with naturally produces carminic acid, and was an important export industry for Oaxaca during colonial times].”
Dunnett is much too modest. Since moving to Oaxaca there’s no doubt that she’s put her own mark on the comic style, with her un-daunting desire to learn, and innovate. The geographical, cultural and political environment in which she lives provides her with diverse opportunities for artistic inspiration. She attended a workshop to learn about the use of natural dyes such as flowers, plants and of course cochineal, at the educational and research facility known as Centro de Difusión de la Grana Cochinilla Tlapanochestli. “For quite some time I’d been thinking about using natural dyes in my work, but it wasn’t until a couple of years ago that I realized that here in Oaxaca [actually a few kilometers out of the city, in Santa María Coyotepec] I had the opportunity to learn about their use from an expert, Manuel Loera Fernández, the chemist at Tlapanochestli. There’s just so much artistic stimulation in Oaxaca that it’s hard to resist taking advantage of everything available.”
Dunnett has also participated in more traditional hands-on seminars, at the well-known Graphic Arts Institute of Oaxaca (IAGO) and at a couple of other institutes in the city. Towards the other end of the spectrum, she credits two local graffiti stencil art groups with providing her with additional inspiration, which becomes apparent after an examination of her work.
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment.
Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett’s work is her use of collage --- cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait:
“I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don’t feel comfortable photographing even him. So it’s all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it’s an experiment, using a face that’s not my own --- I think it’s best if I stick to my own face.”
Each face evokes different emotions, and images of self. “The faces make eye contact; viewers’ eyes move around each work and then return to the eyes and face,” she explains. It’s undeniable that Dunnett’s own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work.
But there’s another reason we return to the images of Dunnett’s facial expressions: The torso and limbs of each primary subject portrayed is far too troubling --- each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm.
“I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it’s on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.”
Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it’s curiosity in her face, rather than demonic imagery of death, which draws one in.
The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett’s own self. It’s that combination which maintains the viewer’s awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
About the Author
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School in Toronto, thereafter embarking upon a career as a litigator until 2004. Alvin now resides in Oaxaca, where he writes, leads small group tours to the villages, markets, ruins and other sites, is a consultant to film production companies, and operates Casa Machaya Oaxaca Bed & Breakfast. ( http://www.oaxacadream.com ) .