The androgyny of manifestation
The principle relationship in the drawing of an idea into the physical/mechanical/tactile is the relationship with my total body
Thoughts and ideas are absorbed and then acted upon
The principle ingredient in any manifestation is the human action
This is infused with idea and thoughts which grow and alter are born and die
the studio is an incubation place
like a mother
gestation of a received spark
out of my body’s energies
When I lived in Auckland, Aotearoa/New Zealand I received traditional Maori Healing (romiromi) and wisdom from Papa Jo Delamere and Manu Korewha.
Up until this time I had taken and used whatever I wanted from the physical world to make bodies to form puppets and sculptures.
These bodies began to feel strange and frightening and not ‘right’.
One conversation with Manu has stayed with me and is of the greatest significance to the process of manifestation I am involved within.
On talking about my being an artist and puppet maker, Manu responded that I was a genetic engineer; the different parts of what I make would forever be in argument with each other unless they were each acknowledged and thanks was given.
This act by the artist/maker of acknowledgement can be viewed as a form of prayer (karakia).
The physical is acknowledged in the most profound sense so that the thing made is new and its constituent parts are content in their energies and so happily act in concert.
The conversation of materials is my preferred sculptural analogy as it is inclusive towards the maximum information of any combination of physical/mechanical elements.
The place where a thing is from is honoured in the deepest sense and so alleviating the strangeness of the newly made and allowing it to sing, joyfully and significantly in its new manifestation.
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