Center of the Universe - Remedios Varo
Archival giclée
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Description
A surrealist portrait by Remedios Varo, depicting a figure holding a miniature galaxy within their torso, rendered with fine, precise brushwork.
Remedios Varo, a Spanish-Mexican artist, created this work during her most productive period in Mexico City. The composition features a solitary, bearded figure standing within a diamond-shaped frame. The figure wears a cloak composed of delicate, feather-like strokes, which suggests a sense of ethereal movement. A funnel-shaped object rests upon the figure's head, pointing upwards toward a cluster of stars. The most striking element is the void at the centre of the figure's torso, which contains a miniature cosmos filled with swirling galaxies and celestial bodies.
Varo often explored themes of alchemy, mysticism, and the intersection of science and the occult. Her technical approach involves precise, fine-line brushwork, which gives the image a quality reminiscent of medieval manuscript illumination. The muted, earthy tones of the figure's clothing contrast with the deep blues and purples of the internal galaxy, drawing the eye to the centre of the composition. The diamond format is a recurring choice in her work, providing a structured boundary for her imaginative subjects. This piece reflects her interest in the internal life of the individual and the connection between the human form and the wider universe. The figure appears detached from any specific environment, existing instead in a space defined by its own internal logic and symbolic weight. By blending precise anatomical detail with fantastical elements, Varo invites the viewer to consider the figure as a vessel for cosmic energy. The work remains a clear example of her ability to translate complex philosophical concepts into visual narratives that feel both personal and universal.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Center of the Universe - Remedios Varo
Artist Biography
Remedios Varo
She graduated from the Royal Academy of Fine Arts of San Fernando in 1930, one of the few women in her class. In Barcelona she fell in with the Surrealists and, through them, with the poet Benjamin Peret, who became her partner. When Paris fell, she was jailed on suspicion of espionage. After her release she and Peret boarded one of the last ships allowed to leave France, arriving in Mexico in 1941.
In Mexico City she became inseparable from the English Surrealist Leonora Carrington. Together with the photographer Kati Horna, the three were called the Three Witches. They attended meetings of Gurdjieff and Ouspensky followers, studied alchemy and Jungian dream theory, and put ink in tapioca pearls to serve as caviar at dinner parties for Octavio Paz.
She did not paint prolifically until the last thirteen years of her life, once she was financially stable and free of wartime displacement. The paintings from this period are meticulous: tiny figures in architectural spaces that obey their own physics, conducting experiments with starlight or weaving the fabric of the universe from threads pulled out of the air.
Her posthumous retrospective at the Museum of Modern Art in Mexico City in 1971 drew more visitors than shows by Diego Rivera or David Alfaro Siqueiros. She had died of a heart attack in 1963, at fifty-four, at the peak of her working life.
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