Project Description

Introduction

In my work, I investigate and explore the relationship between space and human perception, their interconnection and interaction. More specifically, through my practice, I’m provoking the visual Art world by creating an installation using tools and symbols aiming to create a locus that nobody can see. An activated space where the unconscious becomes conscious and people can feel these energies through their body and hands.

Background

Following the principle stated at the Emerald Tablet by Hermes the Trismegistus “As Above so Below”[1] I divided my work into three levels. The first level of research is the physical world the “Below”, the third level is the energy world the “Above” and the second level in the “In-between” where human beings practise their ability to connect with the other two levels through esoteric and mystical techniques.

My work is greatly influenced by artists like Michelangelo Pistoletto and the Arte Povera movement which explores different materials and their symbolic meaning. Other sources of inspiration are Jesse Bransford and his cultural syncretism on how different belief systems and traditions can be combined together towards the creation of a whole new cultural world, Mark Titchner and his provocative visual and sculptural work and David Nez and the OHO group’s Land Artworks[2] with their minimalism and poetic works. All these artists create artworks and installations inspired by mysticism and esoterism; a deeper meaning and symbolism of the visual and the spiritual world.

First Level

The first level represents the world of the senses grounded on the earth. For this level, I experimented with different materials such as wire, fabric, cement, gloves, alginate, resin, plaster, clay to create hand sculptures. The materiality at this level is very important as there is a symbolism behind each material that reflects an idea. For example, the resin is a transparent material and there is a symbolic correlation with energies and how both can be seen and unseen at the same time. On the other hand, cement and clay are both solid and heavy and represent our grounded state of existence and as Tanizaki puts it “ceramics are heavy and cold to the touch, they clatter and clink…” (Tanizaki, Harper and Seidensticker, 2006: 35)

Third Level

At this level, the “Above” energy world, I investigate the different theories regarding energies, the healing properties of the orgone (Wilhelm Reich) and the Reiki energy (Dr. Mikao Usui). In the practical part, these energies are represented by sacred geometry such as pyramids, universal mystical patterns and archetypical symbols (Jung and Hinkle, 2002).

 

 

Second Level

In order to explore and investigate the healing energy hands hold, I explore the state of awareness, consciousness people have. As this is entirely upon the individuals’ level of consciousness and awareness it is a fluid variable in the practical part. As a result, the second level can only be examined in a theoretical background and only as an experiment in the final stage of the practice which is a complete art installation that will engage visitors and initiate a mystical personal experience.

Goal

My aim is to create a live interactive experiential installation. Combining a Pyramid shaped sculpture with sacred geometry, hand sculptures along with tribal sounds to create an energy sphere in the space. Welcoming this way people with all kinds of abilities to take part, engage in the experiment and to try and feel the unseen world of the universe’s healing energies.

 

  

 

[1]Hermes Trismegistus (Ancient Greek: Ἑρμῆς ὁ Τρισμέγιστος, “thrice-greatest Hermes”; Latin: Mercurius ter Maximus; Hebrew: חרם תלת מחזות) is the purported author of the Hermetic Corpus, a series of sacred texts that are the basis of Hermeticism.

[2] Dušan Barok. 2018. OHO. [ONLINE] Available at: https://monoskop.org/OHO. [Accessed 8 May 2018].

Jung, C. and Hinkle, B. (2002). Psychology of the unconscious. Mineola, N.Y.: Dover Publications.

Tanizaki, J., Harper, T. and Seidensticker, E. (2006). In praise of shadows. London: Vintage Books.