Honored to have been asked to take part in “ROOT”, the inaugural online exhibition hosted by The Organic Centre & creatively coordinated by artist Sarah Ellen Lundy as part of the pairs ongoing collaborative ‘Project Earth’.
The “Bad Intentions” exhibition featuring my “Harvest Installation” has been extended until 13th of January 2018! If you are in Berlin or plan to visit, you shouldn’t miss this unique chance to see my work in real life. Single works may be purchased through the gallery.
The candles have been lit, the incense has been burnt; now my work vibrates inside of Berlin art gallery CIRCLE1 until December 23rd. Thanks to Avi Pitchon, who invited me to take part in this group exhibition, alongside renown international artists from Israel and Palestine!
What started as a simple idea years ago, has accumulated into a complex installation. Succeeding years of studying the plants first-hand and a rediscovered love for ink, suddenly things fell into place. It was preceded by searching and researching, sowing and growing, loss and gain via the very basic and earth-bound occupation as a gardener and harvester.
The installation is hence titled “Harvest“. It consists of an earth altar with dried plants and harvest related offerings: self baked bread, honey from the neighborhood and self-made beeswax candles. The souls and spirits that were contained in the once alive, now dead corpora of the plants, find a new house in the form of fetishistic ink drawings: the “Sigilla Magica” series.
With these new forms I found an own language, in which I seek to both entertain and communicate memes to the viewer. Twelve ink drawings reference eleven magical plants. A twelfth refers to the bee queen, “Regina Bombina“, governing the vital interaction between plants and pollinators. In addition, two anthropomorphic drawings depict the aconite and mandragora in half-human form, namely the armed and poison-dart struck “Wolf Shaman” and beheaded and re-headed “Regina Amandrakina” accompanied by her freakish offspring. Finally, two complimenting botanical studies of the roots of the aconite and mandragora act as a bridge between abstraction and realism and explore the individual and fascinating shape of each in detail.
I am happy to share the news with you that I will be part of the exhibition “Bad Intentions” at Circle 1 gallery in Berlin, opening November 17. You are all invited to attend and spread the news!
This is a unique opportunity for me to bring my plant inspired art to a new audience. I will be showing ink drawings of my “Sigilla Magica” and illustrations supported, by an installation with different magical herbs from my garden and surroundings.
Important (!) Due to the exhibition preparations now going into its last and hot phase, I will not be able to process new shop orders until then. All orders placed now or later, will be shipped in the week following the 20th of November.
Below a quote from the introduction text, by curator Avi Pitchon:
“Bad Intentions” seeks to modestly contribute a tiny voice to hopefully echo into a massive abyss. The title is a reference to the good intentions of ‘artivism’, and where they lead to: the disappearance of both art and activism. The exhibition does so by staging an absurd tear between art and artist, in the hope that a gaze into the tear might enable a distinction between art and politics. The artists selected for this group exhibition are Jewish-Israeli, Palestinian-Israeli, Jewish, Palestinian and German. However, no artwork in this exhibition forms an explicit mirroring of any social or political tensions formed within the above ethnic/national triangle. The artwork does not ‘speak for itself’; it simply speaks by itself. “Bad Intentions” intentionally ignores the background and circumstance of the artist, in order to destabilise anything that is expected of such a grouping of artists, because all of those expectations are not only tired cliches, they also silence the speech of art. “Bad Intentions” is thus an invitation for the viewer to empower themselves by placing the weight and responsibility of attention on them; by not providing crutches of meaning.
Impressions from the Samhain Celebration in Gotha, 4th of November ’16
I arrive in Gotha Thursday evening and find the town nearly empty. Having to bridge time and spotting a supermarket nearby, I buy food, water and a pomegranate… Gotha seems to be a place of short distances. At the train station I meet Soth Arts, who will be my comrade for the next 2 days. We could take the tram but decide to walk. Through the park and by the castle; Gotha has its charm, despite or because it feels very much like a ghost town that evening. We check into our hotel, were I am presented the rosaries made for the event: black and ebony wooden beads harmonize perfectly with the Teufelskunst bronze amulets. I quickly put mine on. We have no time to loose…
Out again in the cold night and in a roundabout way we arrive at the pub. There Martin (the organizer) greets us. We find him surrounded by a bustling team of helpers, who are threading up chestnuts, painting banners and applying various green to the stage. One contributor supplied half of his garden to transform the stage into a theatrical scene worthy of an opera production, and 100% in harmony with the Samhain theme.
We quickly join the industrious proceedings and begin stamping and filling little bags with the prepared incense. It gets late and as we finally head back to the hotel, passing by the park again and from the corner of our eyes noticing different interesting trees and crossroads, we plan our spirit offerings for the coming night: I already have the pomegranate and incense; to this we add rum and candles.
The next morning we continue, finishing the last preparations for the evening. Then we have lunch, buy our offerings and pack everything to come with us tonight. It is all damn tight. Even minutes before the pub opens we are putting finishing touches to merch items and set up our table. In the end all is on time, save for my photo exhibition. It turns out the pub is too dark (behold the irony). In addition I face resistance by the pub owners over hanging up the heavy gallery frames, which would involve the hammering of nails into their walls and timber… The darkness wins, I no longer want for my sombre photographs to adorn the even more sombre pub walls. So I improvise and put up the works on chairs and inside windows, where they are still best seen. This serves as a temporary solution for the evening. A better place has yet to be found.
So this is a bummer. I am also starting to feel the lack of sleep and food and the pressure on me, just minutes before the audience begins rolling in. But I am not alone. Soth Arts is there, being an immense support. Erik from Grift, who I meet here for the first time, cheers me up with Swedish lessons and of course there are the many helping hands that are now waiting to see the result of their hard work. I forget to worry about my photos (whoever is meant to see the works will notice them.)
The venue fills quickly and the first band, Vivus Humare, starts on time, followed by Grift from Sweden, MOSAIC and finally Farsot. All four are new to me. Vivus Humare play Black Metal without much add-ons. The 60 minute performance passes in no time. Grift provide a contrast: there is Erik Gärdefors with his acoustic guitar and little singing bowl. He is the special guest of the evening and delivers a beautifully melancholic performance, which convinces the audience and is met with applause. Then comes the time for MOSAIC, the host of the celebration, if you will. Though Martin performs in fact with three bands on this evening, which deserves respect on its own. I watch the MOSAIC performance closely. Martin appears absent, absorbed in his roll of “Inkantator”. His facial expression are grotesque and there is a cold passion in his voice, which seems to echo from a distant glacier world. We spoke of Dame Hulda and her connection to the town of Gotha before – her icy presence is certainly to be felt on this night.
In between and during the gigs I chat with people dropping by our table. For me this is a new experience, as I have not presented my work with Teufelskunst to a live audience before, much less in a metal concert setting. I am used to black metal and the metal audience due to my photography and past-time freelancing for music magazines, but this is altogether a different situation. I was not sure at all if this would work out and whether the audience would accept and treat the hand-made artworks with respect. But it turns out they do, which is partly owed to the solemn atmosphere. On the other hand I also burn plenty of our protecting incense…
Those who are shy or can not relate, do not bother us. Others become curious: metal fans inquire for gardening advice and buy incense. Some communicate their understanding or serious interest in occult symbolism and practices. In the end there are around a dozen people that drop by our table, leave positive feedback and purchase photography as well as crafted items. It is nothing I take for granted and I am thankful for each and everyone one that shows interest. A special thanks goes to Soth Arts as well as Martin and his amazing co-workers. The spirits are thanked elsewhere.
Now I will leave you with these impressions in picture and sound, but not without a hint that you shall prepare for new offerings in November…
Esoteric art exhibition and talk event, St. Augustine's, London Hackney, 21st - 23rd of March 2014
This was an unusual art exhibition as well as an unusual occult gathering. This event was different in a number of ways. It was also a personal challenge.
If you would have asked me two weeks earlier about going to London and exhibiting my art there, I would have declared you insane. But it happened. All my concerns, about lacking the funds, health, whatever, and other obstacles magically vanished, just one week before eventually embarking on my journey to London. It would be the first time in seven years.
It felt like a tip on my shoulder, followed by a physical and mental boost. The next few days I was like a maniac, preparing prints, packing art, clothes etc. Everything had to fit into a board case. The woman at the print shop became my best friend. I booked the flights last minute and eventually, after days and nights of no-sleep and few hours of rest, I found myself on the bus to Berlin airport, feeling lucid yet focused, constantly going up and down mental check lists.
“A tower of an event…”
The tower usually evokes a dark and fearsome image. However, my journey went smoothly. When I say smoothly, I mean everything worked out perfectly. I was on time, did not forget a thing, did not loose anything, flights, buses, trains – whatever was needed to get to the place did not let me down. If I was lost for the way, people helped me find it. I was met with so much friendliness that I eventually started wondering whether any of this was real.
“A circular gathering…”
It is the day of the vernal equinox. When I arrive at Andrea Kundry’s place, the other guests are already involved in animated conversation. I know noone and expect to be plutoed as the ‘German girl’. Instead I am welcomed warmly and find myself instantly involved in creatively engaged talk. It is Charlotte Rodgers who takes the initiative; Glen Tomney and Roberto Migliussi join and a couple of minutes later we are talking art and meanings. It will continue throughout the event.
We have no time to loose and soon head straight to the location: St. Augustine’s tower appears as a solitary monument in the middle of London Hackney, medieval and out of place looking, reminding indeed of the tower tarot card. At the entrance, which is locked, we meet a little woman named Paula, who is dressed in hippie apparel. By little, I mean that she is maybe less than 5 feet tall. She has come here for the equinox and to light a candle in front of the tower, which she explains, is situated on the same ley-line as Stonehenge. She also tells us the tower was the oldest church tower of entire Britain and twelve monks had committed mutual suicide in this building. Her words sound like the perfect initiation into the event.
Unlocking the gate, we promise Paula to leave her candle burn, even though I wonder how any candle would remain lit under these conditions. This equinox comes rather as a late come-back of winter than a warm spring beginning.
Then we entered…
The tower’s inside is flooded with day light, shining through tall Gothic windows, illuminating layers of dust collected on cobwebs and the various artworks positioned on tables and hung on wire threads. In one corner, covering a wooden balustrade, hangs resplendent the large image of a black devil dancing on skulls and sticking out its tongue. It is painted by Dolorosa de la Cruz.
Passing art by Andrea Kundry and intricate sculptures by Charlotte Rodgers, we proceed up a narrow stairway and enter a small room that houses the tower’s clockwork. A reproduction of Amodali Zain’s iconic work is arranged alongside miniature paintings by Jezebel Halewood-Leagas, to be joined by various drawings and a goblin-themed assembly by Glen Tomney. In the same room I am later also setting up my long exposure nature photographs.
Crossing a small wooden bridge, we enter a second room with animal sculptures by Charlotte Rodgers. The iridescent black feathers of a winged corvid creature refract the daylight into its single parts. The bird resides over the talks, meditations and musical evenings taking place here.
We climb up to the last floor, the tower’s attic. In a dark corner presents itself an enormous vulvic shrine dedicated to Pomba-Gira. It consists of multiple ceramic and paper pieces, all created and set up by Angela Edwards. Two visitors are leaning thoughtfully over the installation. Later there will be Christian visitors inspecting the tower and wondering about the unusual happening and they will be shocked and confused by Angela’s work. But even esoteric folks visiting the tower for the exhibition will react ambiguous and unable relating to the presentation. It is the first time for me getting to know Angela and her work, and I too have to sort my feelings in regards to its provocative and violent yet strangely beautiful and enigmatic forms. I shall learn later, how much substance there is to it. Angela provides the viewer with candles and incense for paying respect to the spirits. So I light some, the rest remains an inner dialogue. Later I will spend more time chatting with Angela and without knowing or deciding on it, we are to stay in touch for years to come.
The inside of the tower is cold, electricity is not working properly and there are few facilities for hanging up our work, as it is forbidden to hit nails into the walls of the historical building. But somehow we manage by improvising: arranging our works in window frames, underneath timber beams, at the edge of protruding wall stones and on the wooden doors encasing the clockwork. At night we light candles to illuminate our artworks. The natural light and warmth of the candles creates a special and beautiful atmosphere inside this unique location. After three days at the tower none of the pieces would feel quite the same. Amidst cobwebs and dust centuries old they become charged with the special vibes of the place.
The following day we are greeted with storm and hail whilst the sun keeps on shining, creating a twilight mood, which again reminds me of the imagery on the tarot tower card…
Below is the view from the tower’s entrance towards the churchyard with its old gravestones. Rooted directly in front of the tower is a beautiful majestic tree, looking all the more dramatic against the scenery in the sky formed by dark clouds, sunshine and hail. Beneath, see also a sandstone relief mounted at the left side of the tower’s entrance, showing three skulls with triple crossed bones, hourglass and dragon wings – a memento mori, representing mortality, evanescence and resurrection.
Saturday is full-packed with talks, meditations and musical performances. On top of a busy schedule, Andrea, the organizer herself continues feeling (and looking) ill, despite hoping for recovery until the very last minute. As she can not attend her own talk, she asks me to jump in. Suddenly I find myself in the unexpected situation of having to talk in front of a foreign audience, in a foreign language, who are expecting in depth info and insights about the very location of this event, St. Augustine’s. Instead I fill the spot with talk about memes, the symbolism of plants and drawing, handing around my sigil cards for inspired conversation. Somehow we manage and my Sigilla Magica gain the attention of the audience.
Saturday evening ends with a jam session by Roberto Migliussi (vocals), Chris Chibnall (theremin), Gavin Semple (guitar), Mark O Pilkington, Glen Tomney and Freya Black (magic flute). The tower provides amazing acoustics and so we sit there, chatting and listening to the wondrous vibrations.
On the last day it is time to pack and leave. We say goodbye, exchange contacts and return to our homes. Some people I meet throughout the event, are probably of high relevance within the London/UK esoteric scene. But my mind is already overwhelmed with new impressions and my journey is not over yet, as I am invited to check out two esoteric book stores. I need to catch my flight though and so there is only time left for one. We check out Watkins Books, recommended by Roberto Migliussi. I am impressed by the beauty of the place as well as the sheer amount of esoteric books on the shelves. I don’t think something similar exists in Germany. Roberto also purchases the very first of my sigil card sets and simultaneously entrusts me with the task of coming up with a better packaging for them.