With James’ suggestions in mind I decided to begin to look at other cultures; particularly reliquaries, power figures and memory crocks. My first port of call would be to watch the series, ‘Art of Myths’ directed by Philippe Truffault and Ludovic Segarra, 2007.
The First episode was about the White Kayopo Headdress. I found it incredibly fascinating to hear about the story behind the White Kayopo Headdress, it’s origins and what it means to the Kayopo people. Reflecting on the episode I tried to dissect what was of particular interest in relation to me and my practise. Firstly, I think the aspect that seems to impact me most is both the method of selecting and also use of Kayopo’s materials. For example, feathers are not selected for their functional qualities- they are used for the meanings behind them; What they symbolise within the Kayopo historical context. The bird in this culture is of particular importance due to it’s physical qualities. A bird, such as the Harpy Eagle, (where the white feathers of the White Headdress come from) is able to see from great heights, is able to fly far and fast. They also believe it to be the only being on this planet to know how to travel from this world to the next in death without being captured by the spider; another admirable quality that the Kayopo admire. The qualities of the eagle are qualities that the Kayopo wish to possess. When a Shaman wishes to see far beyond this world he turns into an animal of his choosing- it is often a bird such as an eagle due to these qualities. The Kayopo people use feathers also to express facets of their identity. It becomes a visual reading of their ‘self’.
There are 3 colours of importance to the Kayopo.
Black. A social colour representing the world the way it should be. It is the ‘normal’ colour.
Red. The colour of vitality and strength. Usually applied to the body’s extremities. The ones in touch with the outside world which need extra vitality.
White. The colour of the spirits.
The importance of the relevance of the materials is something that I can relate to. The materials and colours used by the Kayopo are symbolic or representation for something in their belief system. I wonder, is the symbolic aspect of the materials I use an important factor within my work? I suppose the concepts that they communicate and symbolise are- or I would have used thread to stitch my hand opposed to hair. Is this use of material a key factor within my practise?
Whilst I am finding looking at these anthropological concepts incredibly interesting, I recognise that deep within I am slightly worried of the work that may grow out of it. This sounds ridiculous to me as I type, (!) but if I am truthful- it is true. I don’t want to end up just replicating other cultures’ practises. To create tribal looking figures to me would be wrong. I would be copying their culture which would not seem to hold integrity to me and my experiences on this planet! Do I really need to replicate to admire? Does my work have to copy if it is informed by outside influences? Of course it doesn’t; and it shouldn’t be worrying me how my research will materialise- but I do worry! Maybe it is just down to my current insecurity- either way I am hoping that this doubt will disappear!
I later looked at ‘Five Years of Toe Nail Clippings’ by David Shrigley which calmed my thinking. I instantly connected that his use of materials would reference reliquaries etc, but doesn’t imitate. I love the simplistic ephemeral quietness to this piece that really seems to communicate a stillness- yet juxtaposed to that stillness is 5 years of the artist’s body/ toe nails contained within- referencing a contained, marked or noticed passing of time. The glass seems a precious, fragile vessel; yet the fact that toe nails from years ago are still present and indistinguishable from the rest suggests that maybe our physical self is not as completely temporary or fragile as we often think. Giving consideration to Picasso’s fears of uses of the remains of our material bodies- Shrigley’s work takes on another layer of complexity. I wonder- when do these layers stop when looking at work? Is that not what I am doing- just looking at other facets of my work, rather than examining the concepts behind the original explorations. Am I just getting more confused!?!
