I have been gathering materials, performing rituals, making assemblages as altars and then drawing (energy, images, actions, photography and stories) from them for as long as I can remember.
In the 1990s, as a result of a long and intense training in Psychosynthesis psychology, I declared a plan to share my creativity through ritual and ceremony. Since then I have made sure all my creative output is informed by rituals and ceremonies. I have made it my ‘job’ to use ritual in this way. No ritual, no altar, no art.
Over the years I have explored many art forms (including sculpture, painting, sound, performance and video) and private ritual processes have been like intimate conversations between me and the ‘other’ (space, material, earth, ‘higher power’). These important conversations form the ground for my art. They inform, centre, direct and inspire me to make the ‘art’.
In Fabrica (September 2013) I took a step forwards. I made a commitment to bring these ritual process to the forefront of my art practice and to make them public and to let them be the actual art work.
This has been a difficult step to take. Generally I resist making formal commitments around my work. I don’t like to say I will do something and then find I have to break my promise in order to keep my creativity authentic. I like to keep things open and flexible.
As ritual has provided a firm foundation to life for as long as I can remember, and to my art practice since at least 1990 I have (finally) decided that now, after two decades, it is safe, and right for me to commit.