This work is driven by a combination of anthropological curiosity and a fascination with imagined worlds. By anthropological curiosity I mean less what it is to be human than what it is to be non-human, or rather in contact with such invisible forces and magical creatures of cultural lore and ritual. What stories about giants, other worlds, or the shaman contacting his ancestors through ritual means might reveal about life out of the ordinary. In thinking about the accessories to such lore, how do we actually know these contacts or talismanic forces are not true when for instance the only thing that stops someone from breaking that oath is the repercussions from invisible forces?
A pictograph is:
a pictorial symbol for a word or phrase. Pictographs were used as the earliest known form of writing, examples having been discovered in Egypt and Mesopotamia from before 3000 BC.
A turning point in the history of of drawing came when Picasso, who could expertly draw real objects tried to reclaim his childhood talents and draw in a looser manner.
I treated this seminar as an experimental exercise to try out two new wall works, one of which was planned and one quite spontaneous.
The writing below outlines thoughts around ideas such as; How can W.J.T Mitchell’s notion of double consciousness relate to both Western and Primitive African people in relation to the fetish object? Continue reading
In this post I am going to examine ideas, questions and observations about my own practice in relation to work by Francis Upritchard, Matthew Craven, Hieronymus Bosch and Graham Hancock.
All these people have a common interest in the anthropological study of our history and the future of the human race. Some treat this subject in a visual manner while others take a philosophical approach in their writing and verbal discourse. At the base of it all lies many vivid imaginations questioning the reality we live in, have lived in or are about to live in. Continue reading
An interesting seminar to say the least.