Life must first imitate matter

Materials: phosphorescence, honey, paper, plaster, Naxos marble dust and sand, glass, water.

The Orpheus Institute Ghent, Belgium. November 2015

This series of small works touch on the themes of affirmation and love, by focusing on the mythological figures of Ariadne and Venus.

Both Venus and Ariadne are identified with astrological phenomena.  Transits of Venus are among the rarest of predictable astronomical phenomena.  The last one occurred on the 5th of June, 2012, where for an entire day the shadow of Venus appeared as a black shadow slowly transiting the sun.  In contrast, Ariadne’s crown, set as the small constellation of stars Corona Borealis according to myth, is visible each night in the Northern Celestial Hemisphere.

Mythopoetic accounts of Venus and Ariadne offer a ‘techne’ that functions as a practice for living. While a wound or misfortune embodied, is not always visible, the “splendor and brightness which dry up misfortune,” are.  If we understand the “splendor and magnificence” of the event as the luminous, yet mysterious moment of “the immaculate conception” as Deleuze writes in The Logic of Sense, then we see that life is not something that happens accidently to us. When purely expressed the event “signals and awaits us” as one might imagine a pregnancy to come, the unborn, as it were. Untangled from their own suffering and resentment Ariadne and Venus become regenerating organisms, perpetually affirming the potentiality of life.  This is their luminous style, their “great and rare art.”

By mapping Ariadne and Venus through experiments in art, I explore how following a flow of matter or movement of light, a shimmer or trembling, one may discover patterns, rhythms and velocities for living.


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