‘The seals of the Arc Goetia’
‘my own variety of sigigls, utlised symbols present within alchemy, electrical circuitry, and the signs and symbols already present within the sigils of the Arc Goetia’
Since the inspiration from the coal drawing machine’ has begun to infest my mind, I have been fascinated with the notion of sigils being an extension of human intelligence. As I was interested in sigils at the beginnng of this year, and began to incorporate them into the alchemy and ritual circles I was creating around abandoned spaces within Cardiff, It only seems right that this interest would resurface at a later date. The idea of the sigil being some form of strange , alien, mystical language fits well with the notion of machines being a separate ‘species’ of being than ourselves, and one that we cannot fully understand. By attributing demonic imagery to the ‘brains’ of the machines, in their motherboards, I am blending the role of magic and science, which satiates both our biological desire to understand, and our desire to worship.
After some further research into shamanism and voodoo, as well as the nature of the alchemical philosopher’s stone; I discovered that there is a great importance placed on the colours of white and red. In order to craft the philosopher’s stone, it is advised that one utilises both the elements of Sulphur and Mercury. The mercury is the ‘white’ element, and the Sulphur is the ‘Red’. The mixing of the two colours is what provides the final stone with it’s rich ruby hue. The sulphur is tied to the Sun, and the mercury to the Moon, the two most powerful cosmic entities in the alchemists pantheon. It’s interesting that these two colours are often the two colours I utilise within y own practice, despite not knowing this before just the other day!
I also began looking at the forms of the wool within ‘Nest’, as well as the tubes within the cardiovascular systems I had made; and began to realise that there is a particular ‘form’ to the frayed edges and twisted wires. It reminds me of an image of a sceptre that I have seen within the history of Witchcraft. Almost like a twisted branch that holds some form of magical properties. Yet, it also looks like the scientific shape of the strand of DNA; the pure essence of a human being. I am looking towards blending both religion and science in a new and exciting way in order to better my own understanding of concepts and ideas within my work, as well as the role of the artist as ‘shaman’.
I also tried to create a mould for my computers, in order to better duplicate the form of the tower, without having to hunt out more of these rather expensive objects. Through my experiments with them as ready-made, minimalist sculptures; I have come to really appreciate their black, sharp edges, and how they remind me of tombstones. The black forms, how I envision them in my mind’s eye, will be within a grid like format, like a graveyard of black forms. A computer, despite all of it’s majesty and technological prowess, is nothing more than metal and silicon. Much like how we, despite all our knowledge and insight, shall pass away and e brought back to our base elements. So too shall the computer, once it’s life supply, instead of blood, it’s electricity, finally shuts off.
exploring the notion of pipes, I utilised some to create a sculpture of a simple form; one of the sigils. It also, appears to look like the two airways that lead into the lungs from the oesophagus, and this is quite an interesting connotation. I sometimes work with artworks focusing on lungs, on account of my own lungs being quite weak and unhealthy from years of being sick as a child. I may fill the pipes with the blood, in order to reference tragedy, as well as my own experiences with coughing up blood in first year from exerting myself far too much. This fits in well with my own ideas about the fragility of the human body, and the possibility of replacement with machines.
I have also been gifted two pieces of an old confession box by a friend on my course, as he has no use with them. The two pieces of wood are gorgeous; their dark mahogany rich and worn, as well as being of high value. The main draw of these two seemingly banal pieces of wood is that they have heard all sorts of secrets and confessions throughout the last century. Perfectly accentuating the notion of ‘entropy’, they have gained a history through both their use in religious sacraments, but also in the fact that they have gained the stories, hopes, and sins of hundreds of people. I am working towards making them into some form of sculpture, at the moment, they hold a certain duality due to being two separate pieces, yet being the same; allowing one to place them together in this form. I have begun to work with tragedy within my work, and where western religious theology can fit into this concept.
These objects, salvaged from a laptop that I have sacrificed, are the remnants of the laptop’s keyboard. Interestingly, they also relate to the four primary colours of the magnum opus; with the red and white, as well as black and gold. There is a specific colour scheme running through all of my work, and it relates to these four colours. Relating to notions of fire, blood, and the human body. the differing colours of flames and remnants of the fire, ash and black. As well as the differing levels of rust, blood, bile, and flesh. There is something very interesting about this colour scheme, and the duality of black and gold referencing the sun, night, and moon.