I have some half-formed thoughts about the recent integration of storytelling with my artwork, as well as the very deep, significant spiritual elements of the acts of creation. Yes, the coyote and wolverine are the most recent and obvious syntheses, given that each has a “new” myth to talk about its origin. But Anput was also a spiritual story, albeit one in which I featured as a main character, and which was not just a story that I created in my mind, but something that happened to me in working with that Goddess. Even Lady Red Riding Hood was story, rewriting the tale to better fit modern parameters, though maintaining its “once upon a time” feel.
I’ve long been a spirit-worker, evoking and invoking totems, animal spirits, deities and others. And the spirits have often spoken through my art, and not just the skin spirits that are in the remains themselves. I’ve even created numerous ritual tools and costumery over the years that could mesh with certain beings or energies in ritual.
However, this feels bigger. I feel like I’m adding to mythology, if that makes sense. The process of creation is simply the vehicle thereof. Perhaps it’s hubristic to say so, but it feels as though I am *adding to* these beings, with their consent and even invitation. Along with transforming the animal remains and their spirits, I feel I am also making a bigger transformation than before to the bigger beings, the totems and deities. If a totem, for example, is “made of” the natural history of the physical animal, its relationships with all other species, and the human observations as translated into legend, lore, and mythology, then I feel like I am making a bigger contribution to the ongoing, ever-developing mythology.
Like when I make a small pouch out of recycled rabbit fur, I am transforming the fur into something new, and I am rejuvenating the spirit with a new purpose–or releasing it from its container if it so wishes. But Domestic Rabbit stays largely the same; the pouch may be used to connect to Rabbit, but the change is only on this end. However, I look at my experiences creating the Anput headdress, and it definitely feels *bigger*. If you give me the generous allowance that my UPG is more than just something in my head, then I have been shown an element of this Goddess that may have been previously unknown, perhaps by even the ancient Egyptians. I don’t feel I’ve so much added something that wasn’t a part of her before, so much as I helped to shed light on it.
I’m not the only person to do this sort of thing; Ravenari has long been creating these inspired works. Her As Totems series largely comes from the individual totems pressing her into making portraits for them, or asking others to commission her (as with me and Steller’s Jay). She also learns more about the totems in the process of creating these works, hence her creating about the only totem animal dictionary I give any credence to. I give it more weight because I am aware of her process as well as her general familiarity with the animals and her shamanic skills, and I know how much effort goes into the contact with each. Whether she changes the totems, adds to them, or simply enhances the focus on certain parts, I can’t say. But it is very impressive to watch.
And it’s incredibly fascinating to be going through this process; the exchange of energy and ideas that I’m sharing with the deities and totems and spirits in this is beyond what I’ve done before. Whether you see me as connecting with independent beings, or being able to better access these archetypes and channel them through my work, I would appreciate your constructive feedback on what I’m trying to describe here. Anyone else been here?