First outing with the crystal ball into quasi countryside creating mini worlds.
Learnt an important lesson about the intensity of the sun + polished glass. Within seconds of putting the ball on a bench the wood was furiously smoking. I left a series of charred marks behind and have decided to keep the sphere in its box when not in use.
The mysteries of the sun was the focus of the exhibition The Green Ray at Wilkinson Gallery curated by Andrew Hunt.
A momentary green flash visible at sunset when atmospheric conditions combine with light refraction is a rare and fêted phenomenon that inspired the novel by Jules Verne and Eric Rohmer’s film. Witnessing the green ray purportedly bestows powers of insight and perception. The poeticism of such a moment is captured in this text piece RIFT>GLYPH by Sophie Sleigh-Johnson
Jeffrey Dennis The Green Ray
Anna Barriball Sunrise/Sunset XII
Daniel O’Sullivan Palm Beach
Phil Coy Yellowed Sun
At MIT they have their own henge sunset celebration when the sun is in alignment and sweeps the length of a corridor. Yuri Pattison’s installation Sleepless Synonyms, Sleepless Antonyms uses this natural phenomenon occurring at a technological site to make connections between natural and screen light and the psychological effects of sleep deprivation while wafting us with Sweet Dreams vaporised melatonin.
Terra Tremula at Lubomirov/Angus Hughes Gallery was a show about instability and tenuous balance. I was particularly drawn to the glossy striated surfaces of Paul Manners paintings. Caught somewhere between peering out and peering in. I must have some primordial fixation with the circle.
Juilette Losq’s muddle of undergrowth is slightly claustrophobic yet like all the best fairy tales also inviting. Strange abandoned structures are being entwined, obscured, pulled under. She sets up a tension in a quiet space and leaves you there.
Shelagh Wakely Spaces Between Things at Richard Saltoun Gallery could be described as barely there and likely to disappear at any moment. Fragile, ephemeral materials, translucent papers, jittery images, loose threads, sprung wires make a tenuous hold on materiality.
Shelagh Wakely’s work has a lightness that Richard Deacon expresses beautifully when he says that her work helped him come to ‘the realisation that an object could share space rather than occupy it.’
This is something that is also apparent in the work of Maud Cotter seen at Domo Baal in the her exhibition Matter of Fact.
Maud Cotter Litter Bin
Everyday items and materials are opened up in space allowing us a glimpse into the complexity of structure in the world around us. What at first glance appears to be basketry turns out to be tightly packed lengths of spliced corrugated cardboard arranged in geometric patterns. The secrets of the universe are held in the simplest of building blocks.
Maud Cotter Matter of Fact
The Subterranean Saturday event at Conway Hall presented 3 speakers on the subject of exploring underground. Scott Wood gave an idea of the sort of myths that circulate relating to the London Underground system and the origin of those stories which appear and reappear in modified forms throughout history. Antony Clayton the author of Secret Tunnels of England; Folklore and Fact shared his knowledge of where to go to find a tunnel system to explore and the myths that have built up around some of these spaces. It’s astonishing how much of the ground has been burrowed through.
Gary Lachman’s talk was called The Occult Underground but it was much broader than that and I was interested in the analogies he made between matter and consciousness and how the tunnel plays a part in transcendental states of mind. Tunnel vision experienced when in a trance like state is said to have nested curve lines that give the impression of entering a tunnel in the mind and shamanic tunnelling is performed to enter the spirit world.
Entoptic phenomena are forms that originate within the human visual system. There has been research into the similarity of these geometric patterns that appear on our inner eyes when they are closed and the sort of shapes and marks made in paintings by societies that practise altered states of consciousness through religious, shamanistic or drug induced means often in the dark depths of caves. Our physiognomy hasn’t changed in 40,000 years so we can still experience floating shapes within our eyes, how we respond to these optical hieroglyphs depends on our culture and transcendental interpretations.
The research of Raymond Moody in the 70’s into the Near-Death Experience of people who had experienced clinical death discovered that many experienced shared features, such as the feeling of being out of one’s body, the sensation of traveling through a tunnel, encountering dead relatives, and encountering a bright light and often returning with a new found faith in an afterlife. This inspired Moody to build a psychomanteum replicating the practice of the ancient Greeks who would sit in a dimly lit room staring into a mirror to consult with the apparitions of the dead. Moody calls his psychomanteum The Dr. John Dee Theater of the Mind. He has written a more recent appraisal of his work ‘Paranormal’ looking back at his fascination with death and beyond in which he writes;
“I felt the question of the afterlife was the black hole of the personal universe: something for which substantial proof of existence had been offered but which had not yet been explored in the proper way by scientists and philosophers.”
There are many theories past and present sparked by the concept of the tunnel and Lachman mentioned quite a few in passing. The birth canal being our first encounter with a tunnel which according to Otto Rank was also our most painful trauma which we spend the rest of our lives trying to recover from. Stanislav Grof is also captivated by the idea of passage through stages of perinatal matrices before we are born.
Her
The tunnel takes us underground to the underworld, in ancient Egyptian mythology to Duat, the realm of the dead where the sun god Ra goes every night. In Greek mythology to the domain of Hades and Persephone and the journey of poet and musician Orpheus to rescue his wife Eurydice.
The theme of a sunken, subterranean, and secret chamber is found in many secret societies. The early Roman cult of worship that centred around the god Mithras made its temples underground. The powers of Mithras are celebrated in his dragging a bull down into a cavern and slaughtering it with a sword then feasting with the sun god in this underground sacrificial place.
Mithras requires seven steps to initiation which relate to the seven planets Mercury, Venus, Mars, Jupiter, Luna, Sol, Saturn.
The planets also figure in legends surrounding the tomb of Christian Rosenkreutz founder of the Rosicrucian Order whose interred body is said to have been preserved for 120 years in a heptagonal vault lit by a miniature sun with the Alchemical motto: V.I.T.R.I.O.L. – Visita Interiora Terrae Rectificando Invenies Occultum Lapidem – “Visit the interior of the Earth; by rectification thou shalt find the hidden stone.”
The mysteries of what may be discovered underground, caverns of light, treasure, the philosopher’s stone inspire the imagination and feed into mystical tales such as The Manuscript Found in Saragossa, a collection of interconnecting fantastical tales involving an underground society by Polish Count Jan Potocki who tragically committed suicide as he feared he was turning into a werewolf.
On a visit to southern Italy in 1638, the ever-curious Athanasius Kircher was lowered into the crater of Vesuvius then on the brink of eruption, in order to examine its interior. His geological and geographical investigations culminated in his Mundus Subterraneus of 1664, in which he suggested that the earth’s tides were caused by water moving to and from a subterranean ocean.
Trained in law rather than science John Cleves Symmes was a proponent of The Hollow Earth Theory publishing a circular in 1818 – I declare the earth is hollow, and habitable within; containing a number of solid concentrick spheres, one within the other, and that it is open at the poles 12 or 16 degrees; I pledge my life in support of this truth, and am ready to explore the hollow, if the world will support and aid me in the undertaking.
The hollow earth theory was popular with novelists and science fiction writers such as John Uri Lloyd who wrote the Etidorpha ( Aphrodite spelt backwards) series of books relating a journey to the earth’s core. Jules Verne ‘Journey to the Centre of the Earth’ being the most well known of the genre and although inspired by recent geological discoveries was also perhaps written in the vein of a journey of self discovery.
ANATHEMA – distortion/displacement/the other. The programme of artists films screened at Danielle Arnaud’s gallery was curated by Anne Duffau as the first in a series of events by A—Z, a platform to explore various unstable potentials that lead from the idea of entropy.
Zina Saro-Wiwa Phyllis
Laure Prouvost We Know We Are Just Pixels
Jordan Wolfson Animation,masks
Tai Shani The Vampyre
Even if the post human was addressed via the digital all were films that get under your skin.
In other rooms of the gallery a skin was forming over pools of tinted cough syrup slowly evaporating from smooth concrete surfaces leaving chemical residues in Robery Cervera’s Drawn reservoirs.
Larger than life images of limbs and torsos are draped over scaffolding as though hung out to dry by Alix Marie in Hanged, hung, numb. The sharp resolution gives fascinating detail to every hair and pore, crease and blister of skin, naked and exposed thrown together in a haphazard mingling of flesh.
The works showing in ICHOR share a sense of the unheimlich. As ‘ichor’ could be the discharge from a weeping wound or the golden fluid running through the veins of the gods so the films screened in ANATHEMA and the works in ICHOR carry both possibilities of visceral mortality and mythical powers.
This approach not only simplifies huge concepts for a younger audience but gives everyone a pause to think about language. The tourist visiting new places may not have the word to describe an unfamiliar object and so must find a way to describe it using known language. This is an effective way of opening up new interpretations and perspectives and encouraging curiosity to discover and explore the unknown.
Susan Eyre 