Outtake from filming 9/12/15

I’m very fortunate to have the kind of friends who let me dress them up and make them do weird stuff for the sake of my art practice.Alchemists1


Filming 9/12/15


Aleister Crowley and 4th Dimensional Space in the novel ‘Moonchild’ (1917)

“The first impression of the savage about the universe is of a great mysterious jumble of things which come upon him without rime or reason, usually to smite him down.

Long later, man developed the idea of connecting phenomena, at least a few at a time. Centuries elapse; he begins to perceive law, at first operating only in a very few matters.

More centuries; some bold thinker invents a single cause for all these diverse effects, and calls it God. This hypothesis leads to interminable disputes about the nature of God; in fact, they have never been settled. The problem of the origin of evil, alone, has quite baffled theology.

Science advances; we now find that all things are subject to law. There is no need of any mysterious creator, in the old sense; we look for causes in the same order of nature as the effects they produce. We no lounger propitiate ghosts to keep our fires alight. Now, at last, I and a few others are asking whether the whole universe be not illusion, in exactly the same way as a true surface is an illusion.

Perhaps the universe is a four-dimensional object, or collection of objects, quite sane, and simple, and intelligible, manifesting itself in diversity, regular or irregular, just as the cone did to the water…

….It’s perfectly simple. I, the fourth-dimensional reality, am going about my business in a perfectly legitimate way. I find myself pushing through to my surface, or let us say, I become conscious of my surface, the material universe, much as the cone did as it went through the water. I make my appearance with a yell. I grow. I die. There are the same phenomena of change which we all perceive around us. My three-dimensional mind thinks all this ‘real,’ a history; where at most it is a geography, a partial set of infinite aspects…”

Crowley, A. (1917) Moonchild, York beach: USA, Samuel Weiser, Reprint 1991, P61


“There can be an infinite number of polygons, but only five regular solids. Four of the solids were associated with earth, fire, air and water. The cube for example represented earth. These four elements, they thought, make up terrestrial matter. So the fifth solid they mystically associated with the Cosmos. Perhaps it was the substance of the heavens. This fifth solid was called the dodecahedron. Its faces are pentagons, twelve of them. Knowledge of the dodecahedron was considered too dangerous for the public. Ordinary people were to be kept ignorant of the dodecahedron. In love with whole numbers, the Pythagoreans believed that all things could be derived from them. Certainly all other numbers. So a crisis in doctrine occurred when they discovered that the square root of two was irrational. That is: the square root of two could not be represented as the ratio of two whole numbers, no matter how big they were. “Irrational” originally meant only that. That you can’t express a number as a ratio. But for the Pythagoreans it came to mean something else, something threatening, a hint that their world view might not make sense…”.

Carl Sagan – Cosmos ‘Episode 7, Backbone of Night’

Wolfgang Laib

A friend of mine saw the work I’ve been doing with beeswax, honey and, most recently, bee pollen and suggested I take a look at Wolfgang Laib.
“Informed by the purity and simplicity of Eastern philosophies, he employs natural materials, most notably milk, pollen, beeswax, rice and marble. His works are more complex than being just about nature and the natural world. They involve ritual, repetition, process, and a demand for contemplation.”

I can’t believe I hadn’t seen his work before! His exploration of the ephemeral and eternal through a minimalist approach is very appealing to me. His choice of materials obviously resonates, but also exploration of duration of time, ritual, repetition and symbolism of material. His pollen works, wax room works and milkstones are of particular interest to me. His use of white, yellow, gold, black reflects the colour palettes and materials I have been using, especially in my sculptural pieces, but it has reached a place that I obviously never did. My works in progress videos at present have a set that uses the very same colour palette and similar symbolic materials, drawing on work I created earlier this year and last year. Probably for the best that I didn’t see this body of work earlier, because I might have been either too influenced by it, or scared away from working with the materials I had chosen for fear that I wouldn’t be able to avoid steering too close to Laib. I feel that if I wasn’t working the way I am now, that this would be the kind of direction I might be moving in. It can be so difficult deciding what direction is right for the work, especially when there are potential directions that are formally very different but could still produce the outcome the work requires. I’ve identified my work as NOT minimalist and NOT formalist, but I still have a big place in my heart for that way of working, so who knows?


Matthew Barney: The Gesamtkunstwerk and Cosmology Creation

Gesamtkunstwerk: a total, ideal, comprehensive, universal work of art. A self-enclosed aesthetic system.

This term is German in origin and has been assimilated into the English language particularly in the realm of aesthetics. It can be seen in the work of artists such as Matthew Barney, who creates huge cosmologies from the linking, the relating and reimagine of concepts and mythologies. I think that it’s also easy to see this idea appearing within conspiracy theory where each smaller theory is added to the whole creating a continuous, seamless compound theory. Believers can be quite flexible in how their theories can mould and change in order to fit in with other, seemingly unrelated conspiracies. But it’s probably fair to say that those who are able to think in this way might not have a lot of practice with critical thinking.

In the novel, ‘Foucault’s Pendulum‘ (Umberto Eco, 1988) three publishers (Casaubon, Diotallevi and Belbo) become obsessed with reading about occult conspiracy theories. The idea of all the links and associations within the occult world is both fascinating and absurd to them so they decide that it would be fun to create their own grand theory (their gesamtkunstwerk?) which they will then release into the world. Unfortunately they become the target of some real occult societies who think they possess some secret knowledge (the whereabouts of the Templar treasure). The three creators start to wonder if their creation is not just something they dreamed up after all but have, in fact, stumbled upon a real conspiracy. Over time they become unsure whether what they are doing is just a game or whether they are in real danger.

The story looks at the links and associations that appear within occultism and how they can be manipulated to create new cosmologies. Seemingly absurd ideas and flimsy connections can be linked together to create new webs of meaning. In Foucault’s Pendulum the friends use a computer to create these connections in a way that they believe is completely random, but seems to create a cohesive whole that even the creators become hard-pressed to remember is a fabrication.

Matthew Barney creates huge, elaborate all-encompassing cosmologies with his long-running works “The Cremaster Cycle” and his latest “River of Fundament”. In River of Fundament Barney explores Egyptian mythology in relation to American mythologies (particularly industrial America) through the lens of Norman Mailer’s “Ancient Evenings“. The trials of reincarnation and rebirth are told as a journey down the shit filled currents of American waterways and the body of Mailer is reimagined as classic american cars whose bodies are pulled apart and reassembled, cast from metals and displayed as living sculptures. The work is huge in scope, incorporating live performance, video, sculpture, music, drawing and writing. His sculptural pieces for River of Fundament both appear and are created within the performance, are replayed in the video and displayed as sculptural artefacts (see previous entry on trace of performance). The richness and complexity of Barney’s cosmologies seems to allow them to take on a mythological position separate from Barnet’s narrative. Much like The Plan in Foucault’s Pendulum, Barney’s creations take on a life of their own which lives outside their creator.

6766994b-60dd-4442-ac2c-b7c379c6192f-2060x1236The Chrysler Imperial is dismantled (dismembered) and melted down to prepare for it’s rebirth

70e4e_nov21_ona_imgRouge Battery (2014) cast copper and iron

MB_Geuter_10_630x350_03Sekhu (2014) Cast sulfur, salt,copper, bronze and brass. These sculptural objects appear in the performance and film recording

“The melding of the self with the artistic figure, and the development of an entire complex of relations to the corporeal and the mythic, fit Barney’s retinue of allegorical codes.”
Enwezor, O. “Portals and Processions” in Enwezor, O. Matthew Barney: River of Fundament (2014) Neri, L. (ed) New York, USA: Kira Rizzoli Publications (P251)

“There is something Houdini-like in the way in which Barney weaves in and out of his narratives: now an actor; now an athlete; now a dancer; now a performance artist; now a mythological figure. To see these transformations as the assumptions of “roles” is to miss Barney’s crucial insight into the way in which the artist is both internal to the meaning and making of the work, and as a shaper or builder, hovers outside and around the work. Barney suggests that many artists are conscious of “being simultaneously present and absent, and how that feeling manifests itself in an object”.
Bhabha, H. “On the Changing Space of Things: Memory and Cartography in the Making of Narrative Sculpture” in Enwezor, O. Matthew Barney: River of Fundament (2014) Neri, L. (ed) New York, USA: Kira Rizzoli Publications (P270)

The above two quotes have caused me to think about ideas that were hovering around the periphery of my research. I’ve found that in my work over the last year and a half there has been elements of the performative in nearly everything I’ve made. Many of the pieces have elicited comments to the effect that, as the artist, I was somehow a director or guide to the viewer’s experience of the work. This is something that was never explicitly intended at the time, but that has started to more consciously manifest itself, particularly in performance work or work that requires the viewer to interact with it in a performative manner. With the work “Hive Oracle” I took on the role of the character in the video, but more that that, I felt that the character was a part of me, as the artist, rather than purely a role I was enacting. Adding to that, it was far from obvious that I, the artist, was the one playing this role. I see this also in Barney’s work; with him being quite famous now, it’s usually obvious that he is portraying the character (or characters) in the work. But from my viewing of his work I have always felt that it was more than just assumptions of roles and that the creation of the characters was a manifestation of aspects of the artist himself.

In my current work in progress I’m working with performative video again as I feel there is a lot for me to explore using that medium. I’m also still very interested in the way artists like Barney and Dwyer create works that weave together performance and object, so looking at the role of object as trace or artefact is ongoing for me. I can see the work building upon itself and reimagining aspects of previous work within new work to create that layering and linking of meaning found within this creation of cosmologies.

“I think it is a fascinating model for object making; this way of working, where things that have nothing to do with each other are placed together as if a form of alchemy could happen and a material transformation could take place between the two states of material”.
Matthew Barney quoted in Enwezor, O. Matthew Barney: River of Fundament (2014) Neri, L. (ed) New York, USA: Kira Rizzoli Publications (p271)


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