PRACTICAL CONSCIOUSNESS IN THE ELEMENTS
An examination by the Exhibition Coordinator, Erin Kathleen Muir

 

 

 

This exhibition draws on the frequencies of practical consciousness, soul practice and artistic terrain –allowing for a multitude in the energy of art creation across form-works and with soul-full, conscious, authentically-personal responses and attitudes to God-essence(s), divinity and solace in spirit-awareness. Cleverly orchestrated in museum-gallery focuses, display credit to the artists in curatorial practice and earnest, exemplary attitudes toward refocus and rejoice in the many wonders and embrace of Earth-connections to Faith.

 

We are more than our physical self and ‘seeker’ connections, archetypal awareness and other inferences in the energy, led four responses overall in theme; acknowledging aspects of domain and title composed of [ ‘Spiritual’ ‘Self’ ‘and’ ‘Soul’ ‘Space’ ], collectively united with trace of ‘golden-aspect’ in the myriad form, materially and eventuating 2018 sub-inflection, that is, Elementary, with the elements, and drawing on qualities of the whole.
 

Features of display included much admired sculptural accents by Keith Chidzey, earth-connect acknowledgements and the sub-divide between what he longs for in commitment to ‘Fire’ exploration and his outpouring, post residency search with divine inspiration for how Saint Francis of Assisi has creatively connected to the Church and many societies in faith. His affluence in the energy is his creationary impact in allowing soulful response of audience to find resonance, relief and awareness for their own trajectory –ode to universal metaphor, correlate Assisi’s legacy in written form. The series,Trinity gives value to the soul aspect of dwelling, longing and enquiry – surfacing homage to common pathway, the three Christ-centred aspect and referencing the ‘piercing of the stone’, that may be conscious & subconscious soul crying in Erin Muir and Sue Bishops’ differentiated approaches in making, both spirit connected and having layered device.

 

Chidzey looks at the compulsion as healing respite, forwarding and distilling ice-formations for soul device, with meditative, communal connection and ‘at-witness’ congregational-aspect in audience opportunity. His work titled Equality surfaced an organic wood piece, suspended and rotating from an expenditure on the ceiling. At periphery in-the-round, the golden circle reflects the view back as buffed mirroring to the changing –circulatory-reconnection, to multiple arteface, silhouettes reflective of some: feminine & masculine nude torso fragmentation, spout engravings as natural raw interludes in the weave of circumference, and a heart’s learning to know oneself in the formation of a horse’s visibility as nose and side profile. A timely awareness of multiple viewpoints, always, acknowledging formation and arteface.
 

Sue Bishop in her oil paintings reworks the fragrance of her muse-a-many in the energy and collective consciousness, surfacing new work that looks at the universal aspect of planetary and star consciousness, an ocean of character with sub-expressionist enquiry into the vortex connections, realm-awareness reflecting on ‘drawing-principles’, energy tandem-connection with a portion of work giving-insight to new formation, metaphysical concepts, relaying purpose for art’s therapeutic, soul overlay and some awareness for her own soul journey as connective tissue. Beings of energetic connection also surface in Erin Muir’s soul works, a diverse terrain giving-insight to soul-development looking at soul-guide land journeying, reflecting in media responses and how this may move-further explorations in energy consciousness, documenting the personal and more private processing with the energies. Her Charcoal expressions reflect a different wave to portrait creations, spirit conversations and vibration work as support.
 

The investigation of water surfaces and imagery; as – flow-aspect is ‘aware’ in different compendiums of work in this exhibition. ‘Seeking’ understanding with-out lens offers visible awareness to modal responses in soul-based therapy and separately, release-consciousness in artmaking. Stevon Orlando births a large sequence in exploration of field-territory in his current work on display, with human-like
forms treading a pathway in the elements, him ‘other’ and ‘self’, a collective portrait perhaps reflected in the many in - pilgrimage. The powerful ‘tree’ archetype, with formidable learning stories, parables in nature, and connecting across Religion, faith and searching, is prevalent and materially surfaces across all Four Artist’s work.
 

The visceral compendium is an open – book, with giving-territory for response, yearning for peaceful connection where audiences bring their own ‘personal, sacred’ right to navigation, belief, cultural lineage & heritage exploration, soul responses and draw lines to any dismay, discord – valuing the asset of passionate reality. Art –has-a-voice, art –has-navigational-subject-with-continuum and alleviates incrementally and slowly any walls to appreciation - beyond any dominant belief system(s), individual-philosophies and heart-expressions by those that explore, visitors and commentators.
 

Symbolic Rosemary, with metaphysical appreciation and responses of ‘holism’ was cultivated with intuitive spiral revealing a rose formation in fabric at the entrance of the exhibition. This correlates with the Golden weave and diverse, historical connections to Fabric as a cultural awareness, and is a light wave musing on all graphic introductions to the inaugural exhibition. Future exhibitions look to inclusive and group focuses, allowing broad faith-practice and an awareness of growth for community-benefit. ‘Connecting through Spaces’ in 2020 builds on the exploration of Spiritual Self & Soul Space 2018, and evolving the repertoire of the exhibition’s role.