It’s a curious thing, but when you’re behind a camera, especially one where you have to put your eye close to the viewfinder to see the field of view, you sometimes forget to really look at things and take them in properly. It starts to feel like the camera will do the remembering for you.
I remember the thrill I got when I first saw Laura Tempest Zakroff’s blogpost where she released the Power Sigil into the wild. I get a similar buzz when she posts a sigil from a workshop on her Instagram page. So I was very excited when I saw that she had written a book about sigil crafting.
There are currently three amazing exhibitions on at the Art Gallery of Guelph (until 16 December): epistemologies of the moon, 1745, and Critical Mass. It is hard to say which of these exhibitions I was the most excited about, as they all address things I care about.
Recently, we went to see the magnificent exhibition of Scythian art and culture at the British Museum in London. You can see some more of the exhibits here.Continue reading
Last weekend, I saw the Gundestrup Cauldron. It was an amazing, powerful, beautiful experience. Seeing something that I’ve waited so long to see, something so old, and so powerful, of such exquisite craftsmanship. It was awesome. Cernunnos sitting there with his antlers and his snake, all beautiful and serene. And the embossed panels, and the tiny details like the embossed leaves, and the silver of at the bottom of the cauldron. Amazing. So sacred. And containing such a wide range of influences from different cultures.
Yes, I know that the name Cernunnos is known only from one inscription, and we don’t know the name of the antlered deity on the Gundestrup Cauldron, but I chose to use his name rather than the more impersonal epithet “horned god”. And technically, it isn’t a cauldron – it was a feasting bowl rather than a cooking pot, but archaeologists refer to these vessels as cauldrons.
The Gundestrup Cauldron has been gracing the British Museum in London recently, as part of an exhibition entitled “The Celts: art and identity“. If you haven’t been able to get to it in London, it will be at the National Museum of Scotland from March 2016.
There were loads of other iconic objects in the exhibition too: the Basse-Yutz flagons, the Battersea Shield, the Wandsworth Shield, hoards of gold and silver torcs, some amazing deity statues. There was a bit of a lack of any attempt to set these items in context alongside everyday objects and how they were used – but the objects in the exhibition were really spectacular, and I would happily have paid £16.50 just to see the Gundestrup Cauldron, and the aim of the exhibition was to show how identity is expressed through art, not to show the everyday life of “Celtic” peoples. The music in the exhibition room was really annoying, but the ceiling hangings (apparently meant to represent the Northern Lights) were quite groovy.
Some people have rightly questioned the use of the word “Celts” in the title of the exhibition. However, the curators took care to problematise the term, to unpack it, and show how its meaning has changed over time – particularly in the context of the 19th century revival and the Celtic Twilight. Here’s an excerpt from the press release:
Today the word ‘Celtic’ is associated with the distinctive cultures, languages, music and traditions of Scotland, Ireland, Wales, Cornwall, Brittany and the Isle of Man. Yet the name Celts was first recorded thousands of years earlier, around 500 BC, when the ancient Greeks used it to refer to peoples living across a broad swathe of Europe north of the Alps. The Greeks saw these outsiders as barbarians, far removed from the civilised world of the Mediterranean. They left no written records of their own, but today archaeology is revealing new insights into how they lived. Modern research suggests that these were disparate groups rather than a single people, linked by their unique stylised art. This set them apart from the classical world, but their technological accomplishments stand on a par with the finest achievements of Greek and Roman artists.
The exhibition very clearly showed how the meaning of “Celt” changed over time – and how there is no single ethnic group that may be referred to as “Celtic”. Being “Celtic” has more to do with language and culture than it does with ethnicity or genetics.
Last week I posted a story, suggesting that we can understand our interior spiritual landscapes through the telling of a tale. Story acts as map—at least some of the time, was my idea.
I’ve been thinking about how to expand on this idea. I pieced that story together from experiences in my own life. It took some years to write, because it took some years to live. When I read it over now, in its purposeful abstraction, its folk tale feel, it feels to me like a supple fabric that flows through my hands, able (I hope) to be fit and shaped to different forms, depending on the reader’s own experience and requirement.
But the point I want to make today is: it is a pieced together thing.
One of my childhood friends just moved a lot closer to me, here in Wisconsin. She’s a visual artist, a photographer. It’s her images that grace this brief essay today.
Some photographers take their cameras out into the world and try to frame what they see, catching a moment for the viewer. (John Beckett has some good things to say about that here.)
That is not my friend’s way. She composes her pictures in her studio or on location, artfully placing the various pieces and props to make the image she wants.
To use my own trope: she pieces together her images.
I’m taking a class on soul work right now and we’re encouraged in these first weeks to read widely what others say and begin to define “soul” for ourselves. It’s common for people to use the image of a candle’s flame, or a small interior voice, when talking about soul…but today I’m wondering if maybe soul something we piece together for ourselves, through our lives. If it’s a lifework, this business, to (choose your verb) stitch/cobble/paste/weld the soul from the scraps and bits. We all go down, again and again, to what Yeats names “the foul rag-and-bone shop” and we use what we find there, because it is all we have to work with.
We don’t control how life rips us apart or subtly erodes us down over time…but we do make choices about what to do in response, and how to live. It could be that art, and story, and the process of art and story making, point us in the direction of the important interior work we have to do, as well.
Thanks to Heather Atkinson for the glorious art. You can find more of her work at heatheratkinson.com