open studio

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Original drawings made while you wait and canvas drawings available to order from my current investigation Creation Myths 

 

Saturday, October 13 & Sunday, October 14 10am-6pm

Aside Gallery & Studios
Copycat Building
1501 Guilford Ave
Baltimore, MD 21202
DM instagram @elaineyfish

 

 

Open Studio Tour is an annual city-wide event organised by School 33 Art Centre.  Each year, collectors and art lovers have the opportunity to visit artists in their studios, see their work, and get a behind-the-scenes glimpse into their working processes.

On Saturday, October 13 and Sunday, October 14, visit the studios of more than 100 artists located throughout Baltimore City to view and purchase their original works of art, including paintings, sculptures and photographs during this self-guided tour.

reliable objects

reliable objects_2_22x28in 13.36.05

Reliable Objects II (Baltimore)

We only become aware that home is the psychological foundation of human experience when it is disturbed and we are disorientated.  Reliable objects draws our attention to the drive to re-make home and asks what happens when disturbing objects become the reliable things we want to reassemble.

Reliable Objects II will be exhibited in One Gun Gone: thoughts and prayers are not enough Rhode Island Center for Photographic Arts 18 Oct – 9 Nov

to pierce a crow’s eye

Photo Aug 10, 3 07 36 PM
Orkney Crow (2018)
I have been drying and peeling fruit stones.  I have photographed an avocado boat.  I have dipped into the water with the oar of a Canadian Canoe and touched Lily, Lotus, searching for the rhizome below.  I found what I didn’t know I was seeking in the bulbous lignotuber of the Arbutus which here is a protected Oak, a place where native objects have been carefully buried (for future use?)
Crow looms over the process, casting its eye.  Crow is Raven, the First Nation Trickster, seemingly stupid, irrational and untrustworthy, yet providing the necessary agitation that enables access to an ancient store of knowledge.
The Trickster abounds in contemporary politics because there is much to learn, much that we have lost in our contemporary experience.  The Trickster is not the way but resonates at our deepest level and causes us to act on our primitive knowing so that a way forward can be found.  The Trickster points to all that is wrong, delighting in it so that we can ignore it no longer; dancing naked on our collective wounds, defecating on our public monuments.  Turning a blind eye to the Trickster enables our wounds, our monumental disasters to dig in, deeper.  Confronting Him with logic merely feeds the frenzy.  We need to watch and learn from His mistakes, for in His doing is the key to Her undoing.
Crow provides access to the deep and a way out again, pecking over the old dark bones so that they can re-emerge gleaming from the dark to light our way.
(“to pierce a crow’s eye” is a Roman saying for something thought impossible to do ref. Mayberry and Kramer eds. 2007 The Cryptopedia: A dictionary of the weird, strange and downright bizarre)

neurosis (over)looked(over)

ness -ness nest nestle net (2018) or neurosis (over)looked(over) (retitled 2018)

 

An article in which I consider my own artistic practice as metaphor for Jung’s theory and process of individuation; aiming towards wholeness through a connection of apparently opposing forces.

Until recently I have separated out my self from the place of artistic enquiry. Unconsciously at first and then, in an emerging consciousness, discrediting the appearance of self in order that my work not to be identified as naval-gazing and irrelevant to an audience other than me.  But research into Jung’s psychological theory of a collective consciousness has expanded my view as to the relevance (to others) of this undeniably personal enquiry.
To go into the self offers the potential of opening into the deepest and oldest levels of the psyche, to a time before consciousness when myths were created and (re)created, passed on in an oral tradition in order to draw meaning from our shared experiences.  To go into the oldest levels of the psyche to a time before the concept of linear time, to a time before differentiation, before we became self and other, offers the potential of wholeness and oneness, a connection between people that emerges through their own myths as they are laid out in parallel.
The beauty of this enquiry is that it simultaneously reaches inwards and outwards, for “when the soul wants to experience something she throws out an image for us to step into” (Eckhart von Hochheim in Ronnberg ed.2010 p6).  Stepping into the image prioritizes knowledge that comes from intuition but it does not remain unconscious, rather inuition “precedes thinking” and also “suggests where thinking may go; it is the star which determines the adjustment of the telescope” (June Singer in Downing, C ed. 1994 p387), the lens with which we search for the kernel of the complex, the archetype with parallels across world mythologies.
No longer are self-reflective qualities in my work seen as curiosities, bi-products of more important external investigations.  Metaphors that pointed outwards towards Climate Change now also look inwards towards advancing weather systems that might indicate a depression.  The word ‘neurotic’ apparently coincidental in a work looking at boundaries and exchange in language and landscape, overlooking internal complexes, emotionally charged ideas that redirect my thinking and behaviour.

In my latest body of work, the field of research was a dream site, experienced whilst on holiday in Valletta, Malta.  Encountering material that undoubtedly connected with the ‘inside’ I was unable to project my analysis onto anything other than my self.  Each time my research ventured outwards it took a kind of boomerang trajectory, mirroring the journey of my enquiry into the human condition from a study of archaeology towards archaeology-as-metaphor (for depth psychology).  The further I travelled from my dream the closer I came back to an understanding of my self.

Downing, C ed. 1994 The Long Journey Home: Re-visioning the Myth of Demeter and Persephone for Our Time Shambbala Press p387
Ronnberg ed. 2010 The book of Symbols Taschen p6

Did you meet her? (d’m’t-er)

Did you meet her

click image to play

Did you meet her? (d’m’t-er) is a selective installation from an ongoing body of work, the impulse for which emerged in a search for the Mother Goddess in Valetta, Malta in 2017.  The work draws on my own dreams and archetypal encounters, the pre-patriarchal myth of the triple goddess, Demeter, and the psychological concept of a world-soul.

Nau Arts (11-18 May 2018)
unit 2 Crooks Industrial Estate, Cheltenham

from ‘Buddo’ to Brodgar: experiencing neolithic Orkney

from Buddo to Brodgar: experiencing neolithic Orkney in its own terms – in the transition from linguistic-mythic to material-symbolic culture

“Taking my cue from the ‘Buddo’ assignment, I approached Orkney from a position of un-knowing, purposefully holding back from research.  I read just enough to satisfy the logistics of travel.  It was no surprise to find that I was at the centre of  my Brodgar experience, but I was surprised by the bodily nature of my experience.  In the ‘Buddo’ assignment my connections had been linguistically based – in books, held within stories told.  At Brodgar, the physical experience of the site seemed to draw all its resonances directly from my body-mind, the memory of my hands forming a basket, my hands reconstructing a pot”

1. the centre: the point of origin, of making, holding the stones together

Brodgar_1

“I connect opposites: two stones to the north, three to the south, two to the east, one to the west.  With this basic structure (like starting a basket) I can complete the circle and hold it in my minds eye.”

2. fragments: piecing together the remains of the circle, to take away, relationships intact

Brodgar_2

Photo 24-04-2017

“I photograph two or three stones at a time, from the centre, in rotation, making sure to include the last stone from each group in the next shot so that they can later be pieced together (like fragments of a pot)”

3. embodied: in circular procession, the stones materialising one by one, through bodily proximity, comparing scale and weight

Brodgar_3

“I follow the stones around, starting at the first upright and stopping at each one, seeing how far I, my eye, my camera lens, might travel around its circumference (weave between each upright).  We are all doing this, in procession.”

 

(refs. The transition from linguistic-mythic to material-symbolic culture is an adaption of Merlin Donal’s system of Cognitive phases by Colin Renfrew in Renfrew, Colin (2003) Figuring it out p113 London, Thames and Hudson)

extract from ART AND ARCHAEOLOGY: ASSIGNMENT 2   a presentation comprehending the role that visual culture plays in heritage understanding and interpretation

 

my minds i:mpulse

(re)searching ‘Buddo’ as ‘mother goddess’, Hoy Sound, Orkney (with Lucy Gresley)

“what form could there be that would better express the satisfaction of those needs [food, shelter, warmth, safety, children] than this small, carved, fecund female? Unless it were the form of a whole hilly landmass, built-up and carved and shaped into the pregnant body of a woman……so that by walking on the land, you walked on the torso of her divinity, you explored her breasts, her armpits, the space between her thighs, or ran the endless ripple and swell of her back for mile after mile”

(refs. Woodman, Marion (1993) Leaving my father’s house: a journey to conscious femininity; post title inspired by Janet Mullarney’s My minds i (2015) IMMA Irish Museum of Modern Art, Dublin, Ireland)