There are some eerie parallels between Hollywood artist Cindy
Podgorski and the iconic Frida Kahlo. Both had fathers of German descent and mothers
of Mexican descent and both had life-changing experiences which paved the way to
their artistic endeavors. In the case of Kahlo it was a near-death accident
when she was fifteen-years old. In the case of Cindy it was waking up at
sixteen-years of age and suddenly finding she was ambidextrous and able to
Cindy has been drawing and painting her entire life, however,
her only formal training was a ceramics course she took while attending
Cambridge High School in Boston.
Refreshingly naïve and abundant in color, Cindy counts H.R.
Giger and Damien Hirst among her inspirations; that said; her use of stencils,
spray paint and decals bear a closer stylistic influence to the works of
When I first met Cindy, Buddha was the central theme of much
of her work. That she is a Reiki aficionado and seeker of the cosmic connection
owes much to her artistic temperament. And while Cindy has, and continues, to
explore the many mediums available to any artist (she’s experimented with abstraction
and impressionism), she seems to have found an organic comfort zone with her spiritual
Podgorski presents a most potent dichotomy—she canvases
the light and the dark aspects of spiritualism—with a Yin and Yang, non-judgmental balance. From the blissful blessed Buddha, to the playful, joyous
Maneki-Neko to the almost sinister depths and solitude of the Fallen Angel.
Buddha, Maneki-Neko, Demons—awash in talismans and
charms—roses, clovers, Sigils—Cindy’s works scream of both inner bliss and
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