Dragon Mask
Stone, Stick, String, Feather, Symbol
Lunar New Year
2/4/2019
A Yup’ik Mask, 1940. Portland Art Museum
A craft of prayer made physical.
A reminder, a note to self, a commitment, a calendar.
Carved in stone, the practice of patiently honoring all aspects of the self, archetypically symbolized by the twelve signs of the zodiac.
The solar calendar, the wheel of the year, the eight ceremonial nodes honoring the turning of the seasons, a story told in symbols of the lunar ebb and flow.
The Celtic knot, a woven reference of interconnection, reaching in each of the four directions with its nuanced dance, binding disparate times of year together.
The concentric circles, willow and dogwood, salix and cornus, in the form of the solar wave form, rippling out through the qabalistic realms of nothingness: ain, ain soph, ain soph aur.
The radiant rays of feather, diversity in the expression of beauty on this home we call Earth.
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These works are generated from a primary source of inspiration discovered in the Portland Art Museum Native American collection.
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A Yup’ik Mask, 1940
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The circles sticks and string, held in radiant array, emphasized by decorated feather beams inspired me beyond reflection and into action. I am compelled by the natural materials, the simplicity of the form, and the cosmic yet natural undercurrent.
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THE SPONTANEOUS WORKS OF CIRCLES
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Naturally inspired by the patterns of the world as they flaunt themselves, to be observed, copied, utilized, built with. The circle expresses the context of all forms. We share much with each other, intimately, consciously, and we share vastly more unconsciously.
•
As this work fuses the disparate contexts of Ireland, Native American, Hermetic Astrology, and biology, I acknowledge I am walking a fine line - the razor’s edge that balances the contexts of tradition, appropriation, inspiration, attribution, and prayer.
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A reminder, a note to self, a commitment, a calendar.
Carved in stone, the practice of patiently honoring all aspects of the self, archetypically symbolized by the twelve signs of the zodiac.
The solar calendar, the wheel of the year, the eight ceremonial nodes honoring the turning of the seasons, a story told in symbols of the lunar ebb and flow.
The Celtic knot, a woven reference of interconnection, reaching in each of the four directions with its nuanced dance, binding disparate times of year together.
The concentric circles, willow and dogwood, salix and cornus, in the form of the solar wave form, rippling out through the qabalistic realms of nothingness: ain, ain soph, ain soph aur.
The radiant rays of feather, diversity in the expression of beauty on this home we call Earth.
•
These works are generated from a primary source of inspiration discovered in the Portland Art Museum Native American collection.
•
A Yup’ik Mask, 1940
•
The circles sticks and string, held in radiant array, emphasized by decorated feather beams inspired me beyond reflection and into action. I am compelled by the natural materials, the simplicity of the form, and the cosmic yet natural undercurrent.
•
THE SPONTANEOUS WORKS OF CIRCLES
•
Naturally inspired by the patterns of the world as they flaunt themselves, to be observed, copied, utilized, built with. The circle expresses the context of all forms. We share much with each other, intimately, consciously, and we share vastly more unconsciously.
•
As this work fuses the disparate contexts of Ireland, Native American, Hermetic Astrology, and biology, I acknowledge I am walking a fine line - the razor’s edge that balances the contexts of tradition, appropriation, inspiration, attribution, and prayer.
