Part 1 – The alter-egos of Ayu Subhadra

Over the last few years I have been gathering together information about my great grandfather with the help of other interested in parties in the UK and the US. It’s starting to come together into something that might make an interesting book, but I’ve got some holes in the story that still need filling.

While working on it I’ve been trying to link it into my art practice because there are many elements within the story that are useful for creating a more anchored approach. I discovered while studying that there was a desire by many viewers (who were familiar with my work, being faculty, peers etc) to know *why* I was interested in the topics I was exploring. Saying “because they interest me” didn’t appear to fulfil the need for a more solid base of understanding and legitimacy. When I brought up my family history it seemed to create an instant anchor for the viewers that allowed them to investigate the work rather than spending time trying to ascertain my motivations.

Looking at the life of my Great Grandfather George Watson MacGregor-Reid (who I will from here refer to as GWMR) I have found access points into my own practice and into my own personality. There are some interesting aspects of GWMR’s interactions with the worldly and the ‘otherworldly’ that strike a chord.

In many ways his era was the beginning of a huge upheaval in western thinking in regards to british relationships with other humans and to the natural world. There was a greater understanding of human rights and liberties, the rise of archeology and of interest in non-european cultures (although at this stage it also went hand-in-hand with cultural theft and appropriation), the ideas that workers have the right to fair working conditions and pay, the beginnings of gradual decay of the class system and the rise of the middle class, interest in health, medical science, diet, exercise as well as a revival of interest in the ‘occult’ or mystic sciences.

The artistic disciplines also saw a boom time with Art Nouveau and Symbolism seeing out the Victorian Era and the birth of Modernism heralding the new century. These people, the ones at the forefront of this change of attitude and age of exploration in Britain, were GWMR’s friends and peers.

I’ve been spending a lot of time looking at the ritual costume and magical artefacts of different cultures. I really love these images but I’m also aware that I need to be careful of cultural appropriation issues. This issues follow me around constantly as other cultures have such rich histories in these areas and I’m easily seduced by them. But they aren’t ‘mine’ and  I need to take inspiration from the fact that many of these ritual practices are a universal means to interact with the otherworldly, but avoid aping them or stealing from them.

Microsoft Word - MH LECTURE 5GWMR as ‘The Dastur’ – one of his many spiritual altar-egos, taking on the mantle of a Zoroastrian high priest (Stonehenge approx. 1912)

GWMR lived in a time when cultural appropriation wasn’t recognised as problematic in any sense, and this, of course, is tied in with my british ancestors only starting to recognise the humanity of other cultures. GWMR had a great passion for quashing human rights abuses wherever he saw them. He was fascinated by the Senussi Sufis in North Africa and their struggles against the French colonial expansion into their land. (He even claimed to have fought along side them, although I have yet to verify this story.) He was also a committed Tibetan Buddhist and maintained that he had lived with monks in Tibet (Another, so far, unverifiable tale) where he adopted the name ‘Ayu Subhadra’ for his spiritual writings.

IMG_3832
Page from “The Path That Is Light” kindly copied  from the library of Adam Stout

He adopted personas that fit with the ideas he wanted to convey, and wore costume that allowed him to exist and impress as these magical characters. To me this reflects the use of ritual costume to communicate with the other world and to cross thresholds or barriers.

• Ritual dress can be used to accentuate certain parts of the body, certain characteristics or traits.

• It can be used to assume the powers of another being or archetype.

• The wearer becomes a moving, breathing assemblage of symbols or visual language. The body and the wearer become the magical language.

To go with this ritual dress are the ritual objects imbued with the power to allow the practitioner communication with the other world. These objects might offer a symbolic language, they might off protection, the might hold within then the secrets to crossing the threshold. Often the objects might be incorporated into the dress; hidden in pockets or sewn into the very fabric of the costume. The objects might be carried or moved by the practitioner, placed on an altar, moved across a map or diagram.

I have a map/diagram of ideas that I created at the residency in Finland that I am revisiting. The concepts I wrote down in January closely mirror the subjects I am now working through in regards to GWMR and my large collection of found images from the last few months.

I need to mull this over some more tonight and will continue tomorrow.
END PART 1.

 

Stories from my Papua New Guinean friend

When I started my design business I met a man living next door to my little office who grew up in the Southern Highlands of Papua New Guinea. I would go round and sit in his shed and talk to him and get him to tell me stories of his life before he came to NZ. He wouldn’t tell me how old he was, but I suspect he must have been in his 60s as he told me that cannibalism was still practiced by his tribe when he was a child. (It’s not quite what most of us think it is, the reasoning is very interesting, so perhaps I will write something about that another time.)

130131013His tribe is a part of the Huli group of tribes and this is how they look in ceremonial dress performing at a Sing-sing at Mt Hagen

I have so many interesting stories from him, it’s rare to be able to spend so much time with someone who grew up in such a remote place where life is still so different to anything I’ve experienced. The winters were brutal, food was hard to grow – plain kumara was the bulk of their diet, pigs were worth everything and were treated like members of the family; you couldn’t kill and eat your own pigs, you had to swap them with another tribe so that you were eating pigs you didn’t ‘know’. When the family pigs had piglets that was some of the most exciting times he remembers as a child.

He was there when the first missionaries came to their village and told me how the idea of a single god was not so different to their idea of a god that resided in everything, so they absorbed the christian faith with relative ease. This didn’t mean that their forests weren’t still haunted with strange beings and that they weren’t always under threat from the possibility of malevolent sorcery.

The highland people are very afraid of sorcery practiced by other tribes. I asked him about the Asaro; the ‘mud people’ from the Eastern Highlands, because they had always interested me and it was hard to find anything about them except photos. He said that his tribe never ventured near them or traded with them because they were very powerful sorcerers who could steal your heart right out of your body or a baby out of a woman’s womb. He also seemed very wary of the lowland Sepik tribes for similar reasons. I think this idea of sorcery is quite different to the current problem with women being accused of witchcraft and murdered in PNG; to me that seems to be the christian influence seeping into traditional culture that creates religious witch hunts.

d634a3ed7bafc7d2089eebfa6a7221a9
Asaro ‘mudman’

He also told me about some terrifying tiny people living in the mountains (and this is probably true because there are a tribe of cannibal pygmies called the Yali who are absolutely tiny) and that there was also a tribe of giants (I haven’t been able to clarify this one). Not only that but he claimed that there were ‘hairy men’ in the forest which I guess are the Papuan version of sasquatch. He had so many amazing stories that even the ones about everyday life were fascinating. If you can tell me more about the Asaro or would like to hear more of my friends stories, leave me a comment 🙂

 

How Not to Be Seen: A Fucking Didactic Educational .MOV File (2013) Hito Steyerl

img_3632-1

My friend, Rupert following the instructional video and trying not to be seen at the Tate. I think his pixels are too big.

Hito Steyerl’s instructional video shows the viewer how to avoid detection by various digital surveillance technology. The title references Monty Python’s spoof Government Public Service instructional that showcases the benefits of not being seen e.g. not being shot or blown up, which is particularly important if you are a whole country avoiding nuclear annihilation.

The narrator in Steyerl’s video explains that visibility is dependent on resolution, whatever is lost by resolution becomes invisible. The videos are shot against a green screen at an old US airforce ‘resolution target’ that was used to test the resolution of aerial cameras and the artist (plus assistants) attempt to not be seen by the camera by employing various techniques that are explained in detail to the viewer.

The use of the .mov file extension and the exploration of very particular technologies sets this work firmly in a specific time and place where ideas around surveillance and our images being captured and held as digital images, with or without our permission, has become a topic of political, cultural and artistic conversation.

I read Steyerl’s essay “In defence of the poor image” a couple of years ago and found this piece to be a great accompaniment. They both examine how digital image quality – and degradation of quality – can be used within contemporary art to explore issues such as comprehension, visibility, passage of information and the place of perceived visual quality in value judgements.

Carl Sagan: A Glorious Dawn

The NASA announcement today of their new solar system discovery immediately made me wonder how Carl Sagan would have felt on hearing this news. There are 7 Earth-sized planets orbiting a small star 40 light-years away in the constellation of Aquarius, they could hold life, they could even support our life. Sagan said it was time for us to ‘venture to the stars’ if we manage not to destroy ourselves.

Because of my interest in working in the zone where science and mysticism overlap, I find Sagan a continuing source of inspiration.

We’re made of star stuff. We are a way for the cosmos to know itself.
Sagan, Carl (1990). Cosmos: A Personal Voyage

Science is not only compatible with spirituality; it is a profound source of spirituality.
Sagan, Carl; Druyan, Ann (1997). The Demon-Haunted World.

We are like butterflies who flutter for a day and think it is forever.
Sagan, Carl (1980). Cosmos

Something about remembering your own tininess and insignificance along with acknowledging that you have the ability to create something wonderful despite only ‘fluttering for day’ is infinitely liberating. A bit hippie, but there you go.

 

Arteles Residency Outcomes

My stay at Arteles has been very rewarding; I have created many new ideas, the beginnings of new works and have made some fantastic friends from around the world. Among my new artist friends is a woman from the US, Ellery Royston, who works with sound. We have decided to collaborate on immersive sound and video installation, which is an exciting prospect.

Time moves slowly and silently out in the countryside in the middle of the Finnish winter. Long nights, short days and the sun low on the horizon create an environment very different to the one back home in NZ. I decided to explore time and duration in the context of a silent ordeal. I would invite my fellow artist’s to participate by enduring the slow melt of ice against their skin and to experience the thoughts and feelings this awakens.

I was informed by the old Finnish story of the Sielulintu, or soul bird, who visits the human body at birth and death. I gave the participants the chance to experience the cold of the bird melting into their skin on an area of their choice; perhaps where they felt they might experience the passage of their soul. The pain of the bird against their skin stretches time while it is being endured, but is a fleeting moment that quickly fades.

I discovered that the constraints of shooting the videos at Arteles actually created some unexpectedly interesting results. For example, I found it necessary to use natural light which created variations as the clouds shifted and the light changed. This gave an added dimension to the durational experience that I would not have discovered if I had been shooting in a studio with artificial light.

My intention is to continue working with the project to create a multi-channel video installation with accompanying soundtrack which, hopefully, I can show here in New Zealand.

ellery
Ice bird melt on Ellery’s neck
marissa
Ice bird melt on Marissa’s stomach
quartmeltline
Cast ice quartz crystal melting onto a mirror

Long distance travel and the artist

Right now I’m sitting in Hong Kong airport trying to drown out the sounds of yelling children, people coughing and sneezing, departure alerts and all the other hubbub of airports. There is a small child staring at me over the back of her chair with a spoon in her mouth but I’m too tired to even smile at her.

I’ve been travelling for a long time. Since I left my hotel in St Petersburg, took the train back to Helsinki and got here has been around 28 hours I think. It’s hard to know because I’ve forgotten which time zone I’m in. When I’m sitting still I feel like I’m still moving; a combination of the swaying high-speed Allegro train and the first half of my long haul flights.

It’s curious talking to people in Europe about travel. When the learn I’ve come from NZ they invariably say “That’s a long way” and then make some sort of guess about how long the flights are. Ten hours, that’s a long way isn’t it? Try doubling that and adding a bit. It’s the same with my friends at Arteles who have come from the Americas, they’ve come on a long international flight, but nothing in comparison to travelling from the other side of the world.

The thing that really hit home to me on this trip was how much more accessible things are for artists in Europe and the Americas. Most of the other artist’s at Arteles have done other residencies and plan to do more in Europe and they are quite blasé about it because it’s so much easier logistically, financially and it is expected of young artists.

A very positive aspect of modern technology is the ability to collaborate long-distance. This is especially true for artists working in new media. The amount of value I can get from going on a residency is, I think, amplified because I am so aware of the fact that I am unable to do this sort of thing very often and that it is actually a huge privilege. With that in mind I don’t waste my time, I work hard and I try to see how I can work with other international artists.

Work in progress Jan 17

I’ve been working to create a durational video using small stylised bird objects that are informed by my research into Finnish bird mythologies. I have 2 benches set up in my studio; one for wax-working and the other for drawing and latex mould-making. I have a rather ad-hoc jewellers peg attached to the bench which is a bit wobbly but does the job! The below pictures show some of the process for making bird-shaped moulds for later casting.

Birds in Suomi Mythology

I’ve been looking into Suomi mythology around birds – they appear very prominently and I see a direct correlation with Maori mythology in some of the stories. Being a Celtic-descended Pakeha it’s a weird place to be because I don’t have ownership of either of these mythologies; I feel a great deal of kinship with the Maori mythology because I think of Aotearoa as my home and as I’ve worked directly with birds and bird conservation to the point I can identify the calls of even rare endemic species. The Suomalainen don’t really fit in with the other Scandinavian peoples of whom I also have ancestry (although Finland has been variously invaded by Swedes and Russians over much of it’s history). I’m moving carefully around cultural appropriation issues, I try to keep my work *informed* by but not *taking* from because I want to incorporate ideas from what I am learning and experiencing here.

The Finnish Sauna

Saunatonttu – the spirit of the sauna

Last night I had my first opportunity to use the sauna at Arteles. It is a traditional  Finnish sauna with a wood-burning heater and water boiler. The sauna is a central part of Suomi life:

“After centuries of temporal use, the sauna acquired spiritual significance. The sanctity of the sauna was supported by ritual and strict propriety. “These stubborn people,” wrote an astonished Swedish economist in 1776, “even connect the sauna with their theology and think the sauna building is some kind of shrine.” An old saying, still heard in Finland today, says, Jokaisen on kayttaydyttava saunaaa samalla tavalla kuin kirkossa.” (“In the sauna one must conduct himself as one would in church.”) This strict reverence protected the Finnish sauna from the corruption that befell most other bathing institutions in Europe.”
(http://www.cyberbohemia.com/Pages/historyofnordic.htm)

The sauna provides an egalitarian venue for unencumbered discussion. It is a place to be yourself amongst others and to discuss deeper matters that might not be broached on a day to day basis.

The traditional wood-burning sauna at Arteles is a small wooden building off to one side at the edge of the forest. It is comprised of three rooms: the first is not heated and so is freezing in winter! This is where you undress and leave your clothes. The second room is the washing room which has a wood-burning boiler and basins to mix the hot and cold water to your tastes for bathing. You can use ladles to pour the water over your head and body before entering the sauna. You can also come out of the sauna into this room to cool off and re-wash, which is very refreshing.

The third room is the sauna itself and consists of several benches at various heights seating 4-5 people dependent on the heat that you can handle. The sauna is generally heated to 90-100c but can be intensified by ladles of water being poured over the rocks on the top of the stove to increase the heat and humidity, this steam is known as löyly.

Last night we spent around an hour in the sauna and in coming out to re-wash or stand in the snow. On our final round we came out into the snow and rolled around! It was amazing to me to see what the body can withstand when it is warmed up enough – last night was -22˚C and I was having trouble dealing with the cold even wrapped up in my snow clothes, but somehow the sauna allowed me to come out into the cold winter night completely naked and lie in the snow. The body has such a capacity for dealing with situations and adjusting it’s functions to cope. The sauna makes you feel somewhat superhuman in it’s ability to allow a human to withstand such extremes without pain or physical repercussions (eg shock or frostbite).