As my pregnant belly swelled through the second trimester, I resided at the Ragdale Foundation on an awarded residency to work on a series of mixed media works depicting the confined shrines I photographed in Myanmar 3 years prior. I was struck by how many Buddhist shrines were kept in cages under lock and key and felt the images were a poignant reflection of the political climate. Some of the works contain Burmese newspaper collaged in. They were created with a xerograph process which involves transferring xerox copies, in this case of high contrast photographs of the cages that surrounded the shrines. Atop the transfers, Embedded within the cages are the golden shrines, well tended aside from being caged.
During a visit to Cuba in the winter of 2000, we had the opportunity to partake in a blessing performed by a Santaria Priest, just outside of Havana. We witnessed the sacrifice of a pure white chicken, the blood of which added to the layers caked upon his shrines, which added a deeply visceral quality to the forms sculpted by use over many years. The room was dark, lit only by a couple of small windows and candles that were nestled into the organic forms of the shrines. The practice largely grew from African traditions brought to the island during the forced migration of slaves. The materials that were used could be seen as common, yet they were imbued with significant symbolism which allowed them to be used as tools for prayer during these dynamic rituals. Chains represented enslavement and rusted railroad spikes carried the sleek energy of the rail as a passageway or path down which we may release our energy in the world. Tree branches were incorporated as representations of the transfer of energy between earth and sky. Home made dolls incorporated a human element into the mix. Eggs were incorporated within the act of the ritual as a powerful symbol of regeneration. Feathers used as symbols for freedom. It took many years for the experience to settle. Ultimately I created a series of mixed media works on paper integrating stone lithography, collage, rust stains and drawing with oil pastel, spraypaint, chalk and pencils. The largely abstract works are intended to capture the feeling of the space, and the shifting, almost swirling energy produced by the act of the ritual, which culminated in the representations of the shrines as fragmented. It’s as if the energy imbued in the symbols that made up the shrine were breaking apart to lend their energy to the acts performed within this space.