Eight months ago, I was presenting my second soloshow “ESSENCE” at DavidBloch Gallery, in Marrakech.
Morrocco is a very inspiring place, it plays a key role in the evolution of my Art and Self. As before, I stayed around 40 days in the old imperial city, living and working in the medina, inside the walls of the Kasbah. There, Time dissolve into some other perspective. More flexible. That enable me to create many new canvas one after the other, A sort of tribute to the genesis, a documentation of the evolution of the mind, body and soul during the process of Creation. From the intention to the chosen realm.
In the Kasbah neihborhood, I live and work, I know time is my friend and would allow me to create in a tension free mood. I start a very introspective period in which my mind will be able to focus on what I choose rather than what is imposed to me as it is in the noisy modern world. I feel good knowing I’ll keep on building roots in a place which feels like a home you use to live in somewhen.
So, naturaly, the first element who has been called is Hamsa, the hand of fatima, the protector, my helper, my keeper.
It may be the fifth version of the hand of fatima i do, always trying to develop a new vision, a refreshed relationship. As in the other canvas, I fuse the shape of the hand with the one of a face. This one, named “HAMSA O ANA” or “Five & I” in arab, or “The hand & I“, happens to have lost her eyes. Only remains two dark reversed triangles. But over them, the third eye, in the center or a large circular cup, stays open, available to receive.
I choosed the name “VESICA VUELO” for the second canvas. Vesica piscis is the symbol made of to interconnected circles. Crossing eachother, they create in the center the shape of a vertical eye, or a “fish”. This represent the multiplication, the separation of the unity, the creatiion of the perspective, or the potential witness estate. This picture carried a bird. I started the drawing with a large vertical médiane passing though the whole surface, from up till down. I first did the eye, as often, and gently stared waiting for the next lines and shapes to appear. Over the eye, a sort of receptor, or a crown. On each sides, constellations and moons.
The eye reach the neck in a triangle and extand to each side as the shoulders become the bones of his wings. In the center of the image, you can see his vertebral column, made of a doube vesica piscis, three circles crossing eachother. A tail bound him to the ground, eventhough, the icone floats in a deep blue background. His wings, that end with an eye at their edge, do open, able to make the journey and come back.
“KANAAL AKUNDALI”, the third canvas I’ve been working coud, despite me, remind you of human proportion drawing by Davinci, but this was not the intention.
I just started by drawing again a large vertical in the middle of the canvas, extending to the figure of a man standng on his legs, a stop in the motion.I drew his members first, then the energy around him, represented by basic geometry. A triangle on top, a reversed triangle down. A circuit, a loop of vibration. Coming for outerspace, brought in the body, droped on the earth, reflecting back up to the universe.
On the top of the canvas, over everything : a blue dot, his higher vision point, his universal language receptor. Blue. As you can see above, between the legs of the man, there is a large drop. In this dop a sphère, a tiny pyramid. A metaphor to the philosofal stone. She seems to fall down from above.then rebounding as the diagonal goes out ofit to the edges of the picture. Wright down his higher chakra, you can see his hands joining together, conveying forces and messages to come down to his body.Under his hand, the sphere is darker and larger, able to enhance the information received. His face, bended to look up, is doubled, connected to left and right in one attitude. The third eye throne in the center of his face. The sun is in. He’ll metl down is column, bringing colors, activating his vital centers until reaching the rail of the Kundalini snake.Then droping on the ground and rebounding back up to the cosmos.
One detail I enjoyed is that the representation of the flow energy in and out his body, result in creating another perspective on the figure, than I’ve seen in a topview, flying on a large kite in what could to be the darkmatter, or the infinite potencial of emptyness.
Once AKUNDALI came to life, I was on the rail.
I would just keep on with the same intention and process. First, hang the canvas, Then, draw a large vertical in the middle, and eventually an eye on top, I then stop and stare for a wide, see lines, choose some, and draw them with little thought and much concentration and love. This time the surprise gave me the chest of a man, with a large enigmatic halo around the head that make him look like a sphinx or a pharaon. At the height of his heart, he joins his arms, holding his hands together. Inside, a sphere appears in its center. Down and up, all around, flows the Essence, His face his made of a circle in which two profiles fused but independant, open their inside in the center that become the core of the painting. A door breathing in and out, up and down, here and there… just like in Akundali.
When I applied the dark blue of the background, I seen a larger door appearing in front of me, So I entered and went in to seek the colors, and briought them back.
OWA LUZ IWAA was born, The name I choose is directly inspired by a sound I use to make when I was a child. While meditating immerged in and out of the bath, I used to sing strange vibrational song. It felt good to get back in touch with a naïv pleasure I use to enjoy in the most simple way.
This canvas mark a point in the cycle. All those canvas are very related to the night since I was mostly working when the sun was gone.light and shadows, few colors, and much rigor in the gesture which needed to be repeated twice or more, so the whole picture would look bold, harmonious
I needed the day to come back into the painting. I needed someone, a witness that would not be a version of me, or a version of who I thought I am, wished to be, but could doubt of being so. Thus, I decided to hang two canvas beside each other. I could only forsee two singularities in relation with one another. Male and female would face eachother. There will evolve In a lightfull ambient, slightly golden. There faces shall be bright, colorfull, desirable, about to meet, alive.
LE PEINTRE ET LA MUSE, The Artist and the muse. I can not remember if the muse or the peintre came first. They may have came together. The man, on the left wears a hat on the top of his head, a white sun above him. A lrge diagonal going down out of it marks the nose. The face is not closed, but open to his context, leaving the background entering his insides, allowing the context to affect him. Inviting him to be part of it. The line of the nose is doubled. Inviting a translation. Moving slowly from left to right, from past to present. From introspection to expression. From solitude to social relationship. On it s right, his eye rotate 90 degrees. Enlarging/altering his perception. He blinks the other eye. Probably to salute the muse, or is to salute the spectator about to see the parade of those faces seducing eachother. Under the eye of the artist, a black dot, fruit of his skin touched by the golden star. his mouth though, looks left, a red sphere beside him. Maybe the lost passion of the past been expired out of his self.
The woman, the muse, look straight at us. She likes to be seen. Proud, She blinks at the master. She knows he’ll sublime her beauty to any of its witness. Eventhoguh she seems to be staring at us, her attitude is mostly directed to the painter. She also wears a sort of hat, what could be a flower in her haïr which curves around her chick, passing behind her neck, falling down on the left of her chest. On the bottom right, the two half-spheres crossing eachoter represent her brest, her fearless heart, opening in a primary colored dôme.
And so, The muse was here. And she was bringing something. A very specia tool : “The Omniscope”
As I started to materialize the primary curves of this woman, I thought the canvas would be quite classic. A woman, laying in front of the painter. That would have been a satisfying sight. But, for this last canvas, as the opening day of the show was approaching, I already had the wooden structure of the frame prepared, so I had to adust my intention to the choosen space. I had to adapt the sketch to thé proportion of the frame. As for writing, I started the canvas on the left, and once I achieved the full body of the muse, there was an empty space remaining on the right of the picture. And at the time, I really didn’t knew how to finish the composition, being relevant and not only esthetic. Seeking, I found.
On the bottom right corner of the picture, her highhelled leg kneels on the floor. Above, a large horizontal line goes from her thin abdomen turning into the sensual curve of her buttom, designing her body as the one of a queen bee. This same curve floats further until the center of the picture marking her brest, At the center of the image, on top, her red shoulder reach her yellow biceps to her elbow flowing to her deep blue armr, laying on the ground. She’s almost estatic, but still on the move, almost cramping, going forward, with caution, aware, decided, slowly but surely.
Over on the right, her large blue hair fuse into her head ending with her red face. Passionate. Vivid.
Movement goes down to her hand, open to the bacground, connected with the context. She holds a large cylinder rising from half a sphere. The top hole of this tube, is bright, white, light. This is the “Omniscope”, a blend of a microscope and télescope. A lence, designed for the observation of micro & macro world, and the network that bind both together. On the extreme right of the picture you can see the profile of a man, connected to a large centered open eye, merging from a sphere that could be an helmet, or a sort of vehicle. Under it, a large pyramid pushing him out of the ground. A dynamic, an invitation to elevation.
She made the offer to the Almonaute (cf : Alma=soul, Naute=traveler). He shall use it so he can get a touch of omniscience, a slice of perception of higher realms. The magic tool may enable him to see everywhere, from anywhere, everything, through anything. He may observe and learn. Hopefully, hé might bring something back from the journey.
The next canvas shall tell part of the answer.
Thus, while staring at Orion through the Omniscope, I heared the Message.
I focused the magic lence on the night sky, aiming Orion. Uru-Anna, the sky light, is the brightest constellaiton of our winter sky. Visible to the eye, you can see her from both hemisphere.
Since I’ve been to the desert of Pilbara, I developped a strong connexion to Mingala. I learnt beyond time, through Aboriginals, the elder human culture on earth, 40000 years of memory through songlines and vibration exchange, that Orion hold the name of Mingala. The translation is “Creator”. This is maybe why I seek to reach it.
But I guess the bound to Orion is timeless and univversal since the Sumerians, the Egyptians and the Greeks’ cosmogony are all bound to that place in thé sky.
Those civilizations had Orion has a central referent for the observation understanding, and organisation of Life. Pyramids and observatories were built thousands of years ago in a perfect algnement with the three celestial kings. Earlier on, an anciient ethny living for milleniums on the land of east Africa, the Dogons, knew them very well. So well, they knew the existence of the most dense “object” in our universe, Sirius B, centuries before our “modern” lences allowed us to see them, When asked about why/how they did/do know, their answer was : “because we come from there“.
And I enjoy the idea of calling back home.
So I drew.
This piece appears to be a triptic made one unity. On the left, you can see a represention of Mingala, the three rounds in the middle represent the belt of Orion. Alnitak (ζ), Mintaka (δ) and Alnilam (ε), stand Rigel (β) and Saïph (κ). Above that line, at the extremity of the reversed triangle, Bételgeuse (α) and Bellatrix (γ) would crown the column. on the bottom of this vertical bridge, there is an eye, rising, opening his sight., welcoming you.
I like that this constalltion looks like a sandclock, a butterfly, or a kite. To me, this is where the information will come from. I just have to become available. So I can draw the message. Drawing.
A large verticale mediane passes through Orion, inviting the information to flow down this cosmic bridge.
In the center of the picture, the protagonist, you &/or I. Here, his name is Kanaal. His the receptor. The mind able to recieve in order to transfer to the body and give. On the left of his face, a sort of ring, or helmet…I confess I let the shape appear by herself. I might understand what it is then. I see a véhicle for his head. Above his front, a cône. A tunnel wide enough to absorb thé cosmic flow. Looking right, the sun rise beside him.
On the right of this ultimate canvas, was born the message. Kanaal observe the flower blossom in his hand. The seed did mutate. She grew. Out of the mind came what you see. The abstract became concrete. The intention, its vibration, became materia. The message is what made itself. Creation. I believe we are blessed to be able to do. To recieve and give. To expriment and express. I feel wee born spectator to become actor. We do witness life and creation to become the one who help doing Life, And so we Are. Alive.
Here are a few picture of the works installed in the gallery :
Our thoughts are seeds.
P e a c e