About "Devotional Choreography" written when I first started on this thread of work..
(written by Tomas Harold / curator)
The origin’s of Birgit Deubner’s art may be traced back to childhood, when folklore, ancient mythology and imaginary activity took hold of her life. In adulthoos, these preoccupations have developed into an interest in the roots of religious and secular belief. Her experience of life is richly steeped in symbolism and abstract narrative, and her work is part of an on-going journey towards a personal philosophy. Working across mediums, and incorporating forms as diverse as photography, cine film, sculpture, performance, installation, smoke, ice and wax, Birgit produces requiems of sorts – ephemeral and shadowy attempts at capturing states of impermanence.
“Devotional Choreography” is a study of rehearsed movements. Following meetings with religious leaders in Liverpool, Birgit gained access to their communities and their public and private religious ceremonies. From footage of the physical rituals that are performed during these practices, she has produced a multi-channel video & film display that concentrates on the visual poetry of movement and gesture – developed over centuries to express faith.
By following these movements and focusing on chosen movements, postures and gestures, Birgit highlights the endlessly repeated choreography that accompanies every religion, and forms such a fundamental part of devotional practice. Instead of examining the philosophy and teaching for their shared commonalities, her approach is focused on intuitive, disinterested perception. Hers is a study of those humble movements that have gained meaning through their association and application in faith.
Birgit has no desire to offer a judgmental or confrontational treatment. She follows a visual path to reveal similarities in form between these different expressions. In certain fundamental ways, this provides an opportunity to explore what is shared between faiths.
The visual choreography can be seen to stand at a distance from its religious roots, asking quietly: what gives these gestures their power and meaning? A movement, as part of a devotional practice translates differently to one separated from that root. So, can a physical ritual, based in devotional practice, transgress its heritage? What does a movement contain without this religious framework? It is impossible not to draw association with faith when we see hands in prayer, but isn’t this particular connection dependent on a western upbringing?
written about my work by Tomas Harold (curator)
