When I was introduced to mineral dyeing with rust, I found a new way to visually express myself using textiles.
The world I grew up in taught me anything rusting away was supposed to be removed, avoided or replaced.
When making my first rust water, the dye bath turned my cloth orange and appeared meaningful to me as I remembered bath time as a small child when the pipes spluttered out the last of our water supply that was rich in red dust.
Remembering a childhood spending hot sunny afternoons gathering my rusty treasures from the dump to create sculptures of endless, imaginative play. I now find myself looking again for those treasured rusted objects with a new purpose of creativity.
Larratinga Wetlands - Construction
Construction of a Natural Reserve remnant cotton fabric, rust, found rust and Kantha Stitching construction
The construction appeared layer by layer, secured with Kantha stitching the work is ongoing as the stitching records the tracks of the machinery and the dye marks reveal the impressions left by the work in progress.
The final layers were created by resist-dying with hardware parts (found objects). This process extended the work to uniquely represent the passing parade of machinery and equipment that came, went and stayed.
Laratinnga-parra - Flooding Land Creek
THE PLAN -
LARATINGA WETLANDS – Series of 7 x A3 Grid-Dot Paintings each one painted in Acrylic on Canvas Paper each an individual piece of 297mm x 420mm known as 'The Plan' consisting of 7 individual titles -
Titled: The Lagoon, The Stepping Stones, The Boardwalk, The Island, The Toilets, The Bird Hide and The Carpark
The Greek influence that is expressed in this work comes from my personal interest in the Aegean culture. One summer holidays I put together a photo montage of all the images I could find on the internet of the island of Santorini and ended up discovering the village of Oia (pron. Ia), with its 250 something temples and cave houses. The montage soon turned into a paper collage plan of the images changing the photographic angles and expanding the horizons tracing over to sketch to produce a line drawing plan. I have not had the opportunity to visit Greece but now I feel I know this island intimately.
Upon further historical research of Greek art I became interested in the tomb reliefs of sculptured stone wall surfaces and ancient fresco wall paintings of everyday life. Focusing on wall surfaces my interests diversified to include the Mediterranean mosaic floor stones found in the villas of Pompeii under volcanic ash and finally the pebble mosaic floors 'Pella Mosaics' of Hellenistic art.
After researching the techniques used to create fresco painting I became interested in creating portable fresco panels that could be installed both indoors and outdoors. With the right selection of media and processes I created 'Looking Out'.
These are two pieces from the middle panel of my Buon Fresco set of a 9 piece (3 panel) collection.
The frescos are handmade in pine and MDF timbers covered in Duck Cotton Canvas and painted in Acrylic with a Liquid Epoxy Resin finish poured over the top. It is as if the viewer is standing within the temple. The frescos have a ceramic tile edge to depict the frames of the windows and graphite and metallic embelishments are also used to complete the details of this work.
EXISTENCE SERIES OF WORKS - Altered Book: School of Mathematics and Science CROP CIRCLE Construction Part One
My research on Sacred Geometry led me to the discovery of Crop Circle Sculpture and the work undertaken to identify the artist by deconstructing and reconstructing the aerial image. A presence of advanced quantum mathematics in particular quantum geometry is present and goes beyond the knowledge and the understanding at this point in time.
After researching a variety of crop circles from the past 10 year period I discovered the representation of the progression of the learning of mathematics. The book used for this art piece is an old secondary high school mathematics text book of algebra, trigonometry and dimensional geometry.
This provided a universal language to support a selection of crop circles that contained mathematical form such as binary, Phi, geometric theorems, 2D and 3D geometry. I could use crop circles as a way of developing an advanced school of thought, that is a school book for future generations of our youth to decipher crop circles to learn quantum mathematics.
I found two books Part One and Part Two published in 1969 and well used by a female student from the Eyre High School in Australia. The Part One book fitted the criteria needed with its four chapters on Algebra, Trigonometry, 2D and 3D dimensional geometry.
The Part two book was also used but only for the unprinted pages to use for printing the new pages, to insert into the Part one book, to alter the book's contents.
The results of my research lead to the inclusion of two crop circles for each of the five chapters. Crop Circles were chosen for the containmen of binary codes for the algebra, phi and theorems for the trigonometry, two-dimensional geometry for the 2D chapter and three-dimensional geometry for the 3D chapter.
Cuts were made through layers of pages to alter the books construction, to represent an appropriation of the crop circles that altered the appearance of the landscape.
The chapter 'tabs' are made from balsa wood and twine (jute) to remind us of the 'hoax' theories that Crop Circles are made with planks of wood tied to lengths of rope.
Artiste Book: Narrative Structure - Existence
This body of work is a 12-pointed star artiste book that unfolds into a straight line. The text and image is contextualised thorugh my research and my understanding of the celestial bodies, sacred geometry and writings from a past civilisation known as the Mayan culture.
Each page is titled to represent a stage of the reconstruction of the deconstructed crop circle to determine the origin and the meaning of the design.
To visually depict a deconstruction of a reconstruction the design aspects are islolated by the possible process used for construction. The outcome of this work is then depicted to reveal the forms and shapes that developed during the reconstruction.
The idea of the narrative is a sequence of images recording each form that appeared after geometric mathematics is applied onto each page, to record the elements that are present. This is then represented by a simple shape to map an aerial view in logical, sequential, geometric form of the outcomes of an equation.
The images are mathematical, two dimensional forms and the text is written in an information technology code used prior to liquid crystal display known as the Baudot Code. In this form the information can be transferred into binary to be applied to composite into a recognisable spoken language for print. In this instance an English translation was selected using a typeface that best associates with the period Baudot Code was last in use.
The creators of crop circle landscapes use an unknown quantum energy form to create their designs. There have been 10,000 or more designs made on natural earth surfaces during the last millennia. The ones that I am interested in are related to the "water sphere" as this is what is needed to supply the energy of existence in the form of propulsion for travel. A quantum energy, that is a free energy that is supplied by water and an electromagnetic radiation.
Throughout the process of making paper water is the carrier for the paper to develop. There are a series of crop circle designs that maintain a presence of water when represented as hydrogen and oxygen to produce an energy for motion. This Crop Circle depicts theorectical three dimensional plans to become a ship for travel. The expansion of the molecules is expressed on the typography of the crop fields up to 100 metres in length.
This such a crop circle was laid out on the Neolithic site at Windmill Hill at Wiltshire on October 14, 2012 and emerged late in the season for crop circle appearances, amongst fields of barley, towards the end of the harvesting period. This is because the crop had an environmental component been sown with a crop of indigenous weed seed to encourage the return of native birds for organic production. The crop circle displayed precise three and two dimensional symmetry from aerial views which has since been speculated by theoretical research to represent a slice of an 'Asymmetric Rotor-stator Magnetic Motor' (www.cropcircleconnector.com) to produce motion with water.
They are coming
These photo-etched, engraved wall tiles of fifteen QR Codes represent the translation of 15 sacred symbols. The centre code is made up of 730 hand built, mosaic tiles and is the title of the collection of work. The sacred symbols are currently under construction and will represent a new language to assist the development of intelligent life on planet earth.
Atana Dapuritojo Potinija
This body of work has been influenced by the fields of thought related to ancient archaeology, the social symbology of ancient and tribal art and an alternate heritage directed to re-trace the beginnings of civilised existence. This body of work explores the origins of nature, through the cultural and spiritual symbolism of feminine energy and the connection to place and time within the eroded geographical formations is present to accurately record the past beginnings of existence. The motivation for this work is the theoretical discoveries made in the research to depict a visualisation of what once existed on an ancient site of the Aegean chosen for the unique archaeological discoveries of an ancient royal city. This work is an ongoing series entitled: Goddesses, Gods, Gold and Forbidden Knowledge – Ancient Builders of the Future from the Past.
The Labyrinth now sits in silence beneath this Royal City of the Aegean.
Remembered in this cradle of creation
…the horns of Poseidon protected
…the Labrys of Potnia
…and all of life
…that this union created
…in the birthplace of our existence
…the place where the divine
…first landed upon the planet.
A portal for Goddesses, Gods, Gold
…and Forbidden Knowledge
…for the Ancient Builders
…of the Future
…from the Past
…this Four-sided Amphitheatre
…of harmonious oscillations.
The original landing platform
…of the fallen Angels
…of Atlántida found.
O Sons and daughters
…they serve the creator
…to rise up unto the universe once again
…to return to those creators
…of all creation.
by Marye Hobbs
EVE OF GODS, GOLD AND FORBIDDEN KNOWLEDGE
The feminine inflection pulsates within her biological link.
As each millennia approaches her altered states of existence die away.
As the energy grid fades within this dimension of time
all that is left is the symbology of the Gold from the Sons of Adam.
This is Eve of Gods, Gold and Forbidden Knowledge.
Rise up daughters of Eve.
The dawn of our existence begins again.
The aim of this body of work is to visually represent my own interpretation of a fragment of humanity within the fourth dimensional past, present and future timeline of a hypothetical 120,000 year period. This work reveals a scientific truth of the first goddess energy of the feminine, the inflection I call Eve. I developed my conceptual approach to explore a personal understanding of the visual representation of the sculptured artefact. My approach was not applied through its properties or the historical academic recordings of the past but by using an artistic and esoteric approach to map the cultural progression of a biological entity. I used the willingness to evolve the form based on the truth of my findings of its mathematical form and generational composition.
This most recent work for my Honours Degree is focused upon the existence of the labyrinth throughout history and in particular from the ancient pre-language diagrammatical to present day technology. The linear visual mathematics identifying the labyrinthine key patterns are presented as the movement of energy to represent regeneration. The figurative is the image of the Lady of the Labyrinth depiction taken from a seal stone of the Mother Goddess as the Queen Bee. The Linear B language in the background I taught myself to write as it was the written language used during time of the creation of the artefact around 1300-1400bc.