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Follow along with the video below to see how to install our site as a web app on your home screen. Note: This feature may not be available in some browsers. Forums New posts. Library Latest reviews. Media New media New comments. Log in Register. What's new. New posts. Log in. Install the app. For a better experience, please enable JavaScript in your browser before proceeding. You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser. Thread starter Gerald Start date Nov 26, Prev 1 … Go to page. Go to page. First Prev 28 of Go to page. Location Brisbane, Australia. Gerald Hero member. Location Orstralia. Hhhmmm, my 19yr old daughter just got angry and asked me to turn the music down because she had to get up 'early' tomorrow. Mind you she doesn't have drivers license so I have to take her there All I'm listening to is Dweezil Zappa, freaking awesome, gotta say he's doing his dad proud! Finally found a near mint copy of the High Flyin LP by Jukka Tolonen as my original copy from has gone AWOL Great joy listening to the record after many years yesterday evening, but I can't find a copy on CD or any other electronic format to hear the album on the go. Yes I know that I can convert the analog signal on the LP, and given the good audio condition I may go down that road, but perhaps one of our Finnish or Scandinavian forum members can point me to a retailer that stocks the album in a digital format. Any help appreciated! Ernesto said:. Joe Bonamssa and Beth Hart at Amsterdam. Not sure if the link works outside Germany. Click to expand Location Sydney. Went over to Martys for Beer stout and darts in the shed. Has a huge new to the shed plasma watched Steve Macqueen Bullet just for the car chase. Location Melbourne. Haven't seen Bullet for a long time, but I remember seeing them go past the same VW Beetle at 3 or 4 different intersections. LJ-2 Hero member. Location UK-SWest. Reggie3cl Guest. Aye, a wee bit o' polishing today to John Hiatt. Paul LeClair Administrator Staff member. Location Calgary, Alberta, Canada. Yogi said:. Last one of Danny Gatton - plenty more out on You Tube if you are interested - he really was Master of the Telecaster.. Location Perth, Western Australia. In the shed a few days ago, was playing 3 live albums by The Damned on shuffle, now I can't get the bloody things out of my head. Good though. I'll go and do it again today! Simonr Hero member. Location Lympne, Kent. I love this one - brilliant musicians!!!!! Sir Sidney Ruffdiamond Hero member. Location Cotwolds. Location Nottingham. Ohh if only there were tickets available. I meant tickets for the roses, just to clarify. Haggis Hero member. Location UK. Should be on BBC iPlayer. Very good. Dingocooke Senior member. Location England. FNQ Hero member. Hi all Not the shed but just got home from the local cafe almost essence of Hipster to watch my daughters perform in their band. Eldest 14 on the guitar and vocals and youngest 11 vocals, uke and saxophone. Left the eldest to jam away Tomorrow night the eldest is on stage with Hugh Jackman in the Boy from Oz and the youngest has another gig. Gee I wish I had some of their talent. Yogi Hero member. FNQ said:. You must log in or register to reply here. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. By continuing to use this site, you are consenting to our use of cookies. Accept Learn more….

From Boulders to Fells: Sacred Places in the Sámi Ritual Landscape

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She I stands with her feet planted firmly on the ground, on the mountain of Evoramonte, with the spacious sky surrounding her me. She I is obviously an older woman and a strong matriarchal archetype. I am posting ten of my favorite images here, all of which were made at OBRAS and in nearby Evoramonte, and which convey the special affinity I have for this place. You can see more of this work on my website. At the time, I was studying the work of the fabulous Portuguese conceptual and performance artist Helena Almeida — Inspired by Almeida, my intention in was to make performative photographic artworks with myself as the subject. In Woman in the Pego do Sino, above, I am swathed in black gauzy fabric, almost hidden in the rocky landscape. The black form of my body appears like an entrance into the earth. We made many images at different sites in the Alentejo: in canyons, in rivers, in lakes and in dry reservoirs. The title of the image below, Encarnado , refers to multiple things in Portuguese. Encarnado literally means the color red, but it also refers to the incarnation of another being. Below are just a few of my favorite images from that time. I love Outside Woman , the black-and-white image below. The mountain of Evoramonte is visible in the background. Our first heroines were the biblical figures Eve and Salome. And I love the black-and-white image Salome at Sunset, below, with the mountain of Evoramonte in the background at sunset. These works, and many more, were shown in Boulder in as a part of the fabulous exhibit Exit Paradise at Seidel City. The exhibit was originally scheduled for but was delayed due to covid. More than 4, people visited the exhibit over a two-month period. You can read about this exhibit and see the images on my blog:. Our work on the Heroines Project has progressed over the last few years at different locations in Portugal and Holland. As you can see, our work has become more theatrical with the Heroines Project. We will revisit my heroine Aphrodite, the goddess of love, beauty and sexuality and more …. I have been thinking again about the ancient Egyptian goddess Isis. The exhibit will be on display from August 1 to September 7, with an opening reception on Thursday, August 1, from 5 p. During that time, we produced many performative photographs in which I embodied and channeled Isis as well as the infamous Queen Cleopatra VII. As most of you know, I do a deep dive into the history and mythology of the heroines I choose to embody and perform. Isis on the right and Osiris on the left, with their son Horus in the center. I do not deign to know them all. She was the loving wife and queen of her brother, the god king Osiris, and she was the nurturing mother of the god king Horus. She was a principal deity for the living and the dead, a role model for all women and a magical healer who cured the sick and was involved with the rites of the dead. And she had wings. Isis arrived in the creation story of the Heliopolitan Ennead. The Heliopolitan Ennead was the primordial family of nine gods and goddesses worshiped originally in the ancient city of Heliopolis. This family originated with the sun god, Atum; his children, Shu and Tufnet; and their children, Nut and Geb. Isis was one of four children born to sky goddess Nut and earth god Geb. I love that Egyptian mythology attributes the sky to the female goddess and the earth to the male which is the reverse in most Western cosmologies. Osiris was the firstborn of Nut and Geb, and he would inherit the throne of the earth from his father. Next to be born was the god Set who apparently had a violent birth , followed by Isis and her twin sister, Nephthys. It was said that Isis and her brother Osiris fell in love in the womb; they were seen as a divine couple who completed one another in sexual union and partnership. At the beginning of their mythical story, Osiris and Isis reigned together as benevolent rulers. Osiris was known as the god of agriculture and fertility, and Isis was known as the goddess of weaving and of making bread and beer. They were the divine engine behind the incredibly fertile Nile Valley. Set assumed that Osiris and Isis would inevitably have a child who would become the heir to the throne; he was determined to prevent the birth of that child. He plotted to kill Osiris before a child could be conceived. During a royal festival, Set presented the court guests with an elaborately decorated chest and told them that whoever could fit perfectly inside it would receive the chest as a prize. Guests took turns trying to fit inside the chest, but to no avail. Osiris successfully climbed inside the chest and fit perfectly. They cast the chest into the Nile and left Osiris to drown in its currents. The chest was now a coffin, Isis a widow and Set the new god king. She Has Wings I , 22 x 33 in. All tell of her persistence, her ability to fly and her magical skills in restoring Osiris in some form. Isis refused to give up. Osiris was not literally alive, but, apparently, he was alive enough to impregnate Isis with the golden penis! Love this story! Between Earth and Sky IV , 33 x 22 in. Osiris became the king of the afterlife, and Isis held his heir to the throne in her womb. She traveled to the marshlands of the Nile Delta, cloaking her pregnancy in secrecy to avoid harm to the child. She gave birth to Horus while in hiding. To keep Horus safe, she learned magic healing methods from Thoth, god of knowledge and wisdom, and from local women. Isis raised Horus to manhood in secrecy, protecting him and caring for him. Then it was time for Isis to help Horus make his claim to the throne. She is powerful; loving; perseverant; compassionate; an aid to the sick, the dying and the dead; a sexy queen; a mother-sister-wife-goddess. Isis, Out of Darkness I , 39 x 27 in. Ron Landucci, of Infinite Editions, produced beautiful, mounted prints for us, and I will post the installation of them when they go up. The one below is my favorite. I hope you can come see the work in person. Between Earth and Sky I , 33 x 22 in. It takes some time, this process with my heroines—my research has gone on for several months. We have set up a photo studio and shot many images of this wondrous heroine this week. The image above is one of the best from this week. There will be more …. I have been studying images and ideas of Mary Magdalene, as represented by artists, scholars, feminists, and popes. I have looked at many paintings and images of her, and I have engaged with narratives in the New Testament and in the Gnostic gospels. I have explored the Gospel of Mary, an extracanonical text from the second century CE that was found in a cave in Egypt in the last years. This is the only gospel named after a woman, and it is named for Mary Magdalene. It is a stunning depiction and explanation of the spiritual understanding of Mary Magdalene in relationship to her teacher, Jesus. I realize I am traversing sacred and complicated ground here. Mary Magdalene, as a figure and a metaphor, is a huge subject, considering the history, the mythology and the misogyny that surround her. She is my most complex heroine to date. Baroque painter Artemisia Gentileschi — is known for inserting her own image into paintings of her heroines, many of them biblical figures. She made several paintings of the Magdalene. Can we have both at the same time? This is the paradox and the beauty of the idea of Mary Magdalene. Her body is our body—her neck, her hair, her spirit. Though in Western art she is almost always depicted as a beautiful, young, white woman. Portrayals of her are contradictory: a saint cloaked in red, a bare-breasted penitent, a contemplative beauty, an ascetic covered in hair and carried by angels. She has been revered and scandalized and depicted in multiple incarnations throughout time. There is no written history from the early days. Biblical scholars and historians think MM was a real historical figure as was Jesus living in Galilee in ancient Judea in the first part of the millennium, when Judea was under Roman occupation. John on the left. Magdalene is said to have witnessed his burial and was perhaps one of the first to have witnessed his resurrection. There were many Marys Miriam in ancient Hebrew surrounding Jesus in the gospels and in real life during this period. Mary Magdalene was not associated with any man—neither a father nor a husband which almost all women were in the patriarchal society of the time. Jesus was known as a healer, an exorcist of sorts. However, these kinds of healings were supposedly practiced by Jesus as a form of psychological and physical healing. Magdalene was most often pictured with an unguent bottle or jar, representing the oil and herbs used for many things, including healing and caring for the body after death. Above is another painting of Mary Magdalene by Artemisia Gentileschi. It serves as a symbol of melancholy. What was Mary Magdalene healed from? In this painting, a downcast Mary Magdalene is draped in loose, beautiful fabrics; her soft, gold-tinged hair it is always about the hair with MM falls over her shoulder and winds around her fingers. MM is often portrayed especially in the Renaissance and Baroque periods in beautiful garments with a mirror, a skull and a candle, representing the shedding of vanity, acknowledgement of the transitoriness of life, and the search for spiritual awakening. French Baroque painter George de La Tour — painted several series of the Magdalene in deep contemplation with a mirror, a skull and a candle. This might also signify that MM had experienced and understood some deeper teachings from Jesus. She performed miracles, taught and later lived in a cave and meditated for many years. She is worshipped and sanctified in many Eastern and Western Christian traditions. Most secular historians hypothesize that she stayed in Galilee, where she taught and preached. These early years were dangerous times for Christians, and I imagine they were even more dangerous for a female spiritual teacher. The erroneous or unfounded idea that Mary Magdalene was a reformed prostitute or an adulterous woman before meeting and being healed by Jesus was introduced into church doctrine in by Pope Gregory. He conflated many of the women named Mary and unnamed women from the gospels. This idea held for hundreds of years, and Mary Magdalene became a figure and a symbol of penitence from then onward to saintliness. Innumerable paintings of the repentant Magdalene emerge during the Renaissance, and usually involve her boobs as well as lots of hair. The Italian Renaissance painter Titian — created several paintings of the penitent Magdalene during his lifetime, the first one, in , with a lot of hair barely covering her breasts. The last one, in , included less hair and partially covered breasts. An unguent bottle appears in the lower left corner of both paintings. The skull appears only in the later painting. Palazzo Pitti collection, Firenze. Hermitage Museum collection, St. The Renaissance produced many images of Mary Magdalene with her breasts revealed got to love the Renaissance. The painting below verges on campy porn. I am not clear on when Mary Magdalene was declared a saint or how this works? During the medieval period she was a big deal and her iconic images from this time are many and beautiful. So many Marys …. I wrote about Circe on my previous blog post. And so, I am contemplating obsessing over the enchantress and how she has been portrayed throughout the ages. Here is the whole thing: Circe meets Odysseus and sparks fly. We know that Circe offers Odysseus the drugged wine that has the power to change humans into wild animals. What might have been a zone of terrifying transformation for Odysseus transforms into the best foreplay ever. Circe has met her match in trickery and falls in love. Who is this goddess who alters men? How is it that she has captured the imagination of singers, writers, and artists throughout the ages? How do Circe and Odysseus solve the puzzle of loving and letting go? First, her name, Circe, or Kirke in ancient Greek, is the feminine form of Kirkos, which means falcon or hawk. Long before Homer imagined Circe, birds have been associated with the divine. The Burney Relief, sometimes called Queen of the Night, c. The ancient sculpture above, known as the Burney Relief, shows a beautiful, winged goddess possibly representing the Mesopotamian goddesses Ishtar or Ereshkigal with her taloned feet resting upon two small lions and flanked by larger owls. Perhaps this goddess prefigures Circe, as perhaps does Isis, the winged goddess of ancient Egypt, who is also associated with a bird of prey, the kite. Circe is not depicted with wings, but her connection to the animal world is apparent across time. Many stories and images exist that depict her wolves and lions, tamed companions, as well as other tamed and sometimes drugged wild creatures. The sixteenth-century fresco below, by Allesandro Allori, illustrates a part of the Circe story found in The Odyssey and subsequent texts. The goddess is seated on a rocky bench in the foreground, looking contemplative and a little melancholic. She rests her face in the palm of her hand, her book of spells at her side. She calmly points her magic wand toward a wolf and a lion, both seated before her. Both lions gaze outward, appearing almost human. Their ship rests moored in the pale distance. Homer portrays Circe as a powerful and resourceful goddess, and I find her relationship with Odysseus strangely modern, verging on feminist, especially for a three-thousand-year-old text. Odysseus and his men arrive at Aeaea exhausted and in despair after their many misadventures. They spend a couple of days recuperating on the shore. Odysseus, when exploring the island on his own, sees smoke rising from the forest above. After drawing lots, he sends half of the crew off to explore the island, and he stays with the other men near their ship. After Eurylochus watches his fellow men turned to swine, he returns to the ship, overwhelmed with grief. Along the way, the mercurial god Hermes one of my favorite Greek gods comes to his aid. Hermes instructs Odysseus to sleep with Circe after all, you cannot deny a goddess but to first draw his sword and demand an oath from Circe to free his men and cause no further harm. Circe is surprised when the magic wine does not change Odysseus; she is also intrigued. She says to Odysseus:. Odysseus agrees to sleep with her, but demands she first fulfill her oath. They stay with Circe for a year, and they are content. Odysseus relays:. The transformed warriors and the whole company, joined by still reluctant Eurylochus, stayed on cheerfully for a year as the guests of Circe. Odysseus shared her beautiful bed, in gentleness and candor, with that meeting in love and sleep and trust she had promised him. Circe gives Odysseus very specific guidance, instructing him to travel to Hades for advice from the blind prophet Tiresias. She later advises Odysseus on avoiding the dangers of the Sirens and the monster Scylla. Circe empowers Odysseus to make his way home alive though, spoiler alert, he loses all his men on the journey. She and Odysseus become friends, lovers, and equals; she supports him and his men, and, when it is time, she lets him go. The Sorceress, John William Waterhouse, oil on canvas, c. She appears pensive and sad, facing her feline companions across the table. Here, I think of Circe after Odysseus and his men have made their final departure from her island. She is an immortal goddess, and so, perhaps, she ponders a long life ahead without her mortal companion and lover, Odysseus, whom she loved more than any god. Of sunlight and sea water was her divine nature made, and her unique power as a goddess was that she could reveal to men the truth about themselves by showing to each man himself in his true shape according to his inmost nature. For this she was rightly dreaded and feared; her very name was a word of terror. The Odyssey. Emily Wilson. New York, N. Porter, Katherine Anne. A Defense of Circe. Yarnell, Judith. Transformations of Circe. Ford came to my studio in Boulder, recently, and we spent time talking about my intentions and process in making this performative work with my heroines such as Eve, Cleopatra, Helen of Troy, Sappho and others. The exhibit at East Window is up through February 28 th. Lindsey did a wonderful job of interviewing me and she gives a good glimpse into my practice and studio. The opening reception is November 2 nd from 5 to 8pm and an artist talk will take place November 18 th from to noon. You referred to your practice as performative but also as embodying and enacting. SW: I am compelled to study the lives and work of women. In doing so, I have found a kind of courage and sense of self-power. That has led me to create an artistic practice that is more performance based. The women I study become the subjects of various projects and bodies of work. The photographs document my artistic process and the practice itself; the photographs are also the intended result. While I am performing, I envision the poses to be a photographic work. Yes, enactment and embodiment—the terms you mention—are definitely the terms that describe this work. The beauty of performative art for me has been that my body can exist in different environments. Somehow those environments—sites, places, atmospheres—come to represent the women I am thinking about and making work about. That process is empathic, yet it exists because I have excavated and studied their lives and work. Until recently, most of those women were artists. Now, I am working with a broader representation of historical and feminine voices in creating the Heroines Project. CP: You are very process driven in your artistic practice. You make a lot of images. SW: The work is created through in-depth research, editing, and post-production of thousands of images. But in the end, I am forever an installation artist. Thus, the final narrative of an exhibition arrives because I care about the spatial dynamics between the audience and the art. An exhibition offers a liminal plane where the viewer and the object—the concept and the artist—participate. In the case of On Sappho, Helen and Aphrodite, I hope to create a way of confronting volumes of history largely written by men. CP: The exhibition insists upon directness of viewership. We cannot look away. We are obligated to make comparisons, historical and contemporary, among these three iconic representations of the feminine. Sappho is the first heroine you bring into view. Her words, from the few remaining papyrus fragments, are sprinkled throughout the installation in excerpts taken from translations by Diane Raynor and poet Anne Carson. These traces of Sappho, which have survived over centuries, to be investigated, translated, and re interpreted, anchor the show. SW: I investigate women, both fictional and real, such as Sappho. She was a real person; we know that because we have her words. As I delved into the translations of her texts, which were originally songs meant to be performed and sung and accompanied by dancers and instrumentation, I found her to be so modern. And her subjectivity feminist and feminine. She is speaking from 2, years ago, and, even so, the work resonates with me as being in the present moment. In truth, I am inserting myself into the lives and stories of these heroines from my position as a sixty-something-year-old woman. CP: Even though your photographs present a type of romanticism in tone and composition, there is a feminist message about love in the work that pervades the exhibition. SW: Love means many things. Gender might be implicit, but it is also fluid. For if she flees, soon she will pursue. If she refuses gifts, rather will she give them. If she does not love, soon she will love, even unwillingly. SW: There is this complexity of love, the giving and receiving, the joy and the loss, in the poem. I just love this advice from Aphrodite. CP: The photographs also contain an abundance of symbolism, for example roses in the images of Aphrodite. The painting is of a beautiful young woman with an apple and a dart. In your diptych, Aphrodite with Roses, you present us with an apple and a bouquet of red roses against a figure on a proverbial bed of roses. SW: I was riffing on Venus Verticordia. The roses are brought forward to perhaps deliver other meanings. Both Venus and Aphrodite are usually represented as beautiful and sometimes sexy young maidens. I had an idea of where I wanted to go. We set up the photo shoot toward that idea. Even so, every photograph has its own performative life, such as it did with creating Aphrodite. The image is obviously me, an older woman, and you see all the wrinkles on my neck and face. SW: My decolletage. The work is compressed and cropped, cut off, and presented larger-than-life size. The face and the boob and the arms, the roses, everything operates against a natural sense of scale. He, too, compressed and zoomed in to create an artificial reality that reads more intimate and sexualized. His other images were more full-bodied and fully clothed. I discovered that she was a goddess who protected young women and older matrons from their own sexual appetites. This is the opposite of what my Aphrodite and the Greek Aphrodite are all about. My Aphrodite is one of generosity. She is for ALL love. As I learn more and more about her, I do adore her. But she is kind of tricky too. She actually put Helen in a bad position. It was Aphrodite who made a promise to Paris. In the Judgment of Paris Aphrodite tells Paris that if he gives her the golden apple and deems her the most beautiful goddess over Hera and Athena, she will give him the most beautiful woman in the world, Helen of Sparta. That was a little presumptuous, her doing that to Helen! The image presents us with a Helen full of regret, after the war, abduction, kidnapping or elopement with Paris. We all know about Helen from history, certainly the Odyssey and the Iliad, but you have augmented that reading with something new. SW: We shot that photograph in March. We were shooting Helen with her gown and crown and jewels in the swimming pool. When I got out of the pool, it was dark and I was cold. We can see how miserable I was. According to the Odyssey, he brings her home and they have a nice life in the palace in Sparta, entertaining guests with lavish parties. And, who really believes that? How could she have gone through the torture of the ten-year war in Troy with thousands of Greeks and Trojans dying, purportedly because of her, and just go home and have a nice life in the palace? I thought this is what she really would have looked like. She would look like a drowned rat, a drowned queen. Helen After Troy is one of my favorite images in the show. CP: Helen After Troy brings us to an alternative ending of what has been known. You point us there through the meta structure of your work. How has Claude Cahun influenced this body of work? Cahun was incredibly well educated. Her grandmother taught her ancient Greek, so she understood the breadth of history and classical literature. She was both a performance artist and an imagemaker who used herself in her photographs. Helen and Sappho came to me originally from Cahun, from her Heroines text, where she writes about fifteen women, mythical, real and fictional. She portrays Sappho in her short essay, written to be performed as a monologue, as Sappho the Misunderstood. And Helen is Helen the Rebel. Both figures step out of the darkness; neither is idealized. Even with the theatrical lighting, we can penetrate the deeper questions about Helen and Sappho. With Sappho, we sense all that ambiguity around her identity and life. SW: Sappho is misunderstood on all these levels—her sexual preferences, whether she loves men, whether she loves women, whether she loves both. These are things that have been discussed throughout the ages. And then all the mythology of her jumping off the Leucadian cliff. Sapphic lore tells us that later in life, she was in love with Phaon, a young ferryman, who ditched her for a younger woman. Supposedly, she was so upset she jumped off the Leucadian cliff. She was way too conversant with the fickle ways of love. It is a tantalizing expression of a mystery that will never be solved. I also bring props, makeup, and outfits. We find sites, sometimes we create a staged setting. For Sappho, Helen and Aphrodite we worked outdoors in different locations in Holland and in Portugal. It takes me a while to get into character. Part of the process becomes interacting in different spaces at different times—early morning, day, and night. What happens emerges from the connection to the site, the materials, the research, and the collaboration. In the process I do not camouflage my sixty-something-year-old persona. I attempt to embody these female icons from the truth of my body. We do literally take hundreds and hundreds of images to find those that are just right. CP: There are many artists who are working with identity, such as Cindy Sherman, who take their own pictures. You know how to take pictures. SW: Our interaction, the collaboration, we call it a push-pull. He is, in essence, the viewer. The fact that he is a man creates a kind of friction. Sometimes friction, sometimes seduction, that goes back and forth. For example, with the making of Helen After Tro y, he saw what was possible. CP: He brings an objectivity to the moment that you could not. You describe it as cinematic or filmic, which sits within the language of moviemaking. Is that a more important language for you now than the language of performance? Have you crossed over from thinking about visual art into thinking more about the cinematic nature of visual art? Taking on these big-time heroines, I must rise to be Aphrodite, to be Helen of Troy. I would say, there is this cinematic quality to the images because they are photographs. On Instagram these images operate in the public melee of social media. But when I exhibit them in a gallery, the physicality of the images allows people to really respond. Everybody has a mother or a sister or a lover or whatever. CP: There is a kind of surrogacy in the visual plane that you can step into. SW: People see me not just as Helen but as me, the sixty-eight-year-old artist-performer woman who is not afraid to be seen. The opening reception is Thursday November 2 nd from 5 to 8pm and the artist talk will be Saturday November 18 th from am to noon. Gallery hours are Tuesday to Saturday 11am to 5pm. Ron Landucci of Infinite Editions produced beautiful prints for us. Terry Seidel was a great host and Seidel City is a fantastic contemporary art space. In this video I explain my intentions and sources for this work about my biblical heroines Eve, Judith who took the head of Holofernes and Salome and we also show the works themselves along with installation shots in the galleries. I have had a difficult summer with some physical problems that I am slowly recovering from. Hugs to all near and far. I like that Cleopatra is sitting with me. We hold a cigarette in one hand and a snake, entangled with our jewelry, in the other. This image reveals something about my process and practice with my various heroines. Together we reimagine and reinvent our histories. We think about our accomplishments, children, lost lovers, the ghosts of our past lives. I realize that I am treading on controversial territory, joining my sixty-something-year-old-white-lady face and body with the infamous Queen Cleopatra VII the last queen of the Ptolemaic Dynasty in ancient Egypt. Issues of racism, sexism, misogyny and nationalism are at play, as are the inherent problems with the ways her story has been told until recently, mostly by white men. Cleopatra has been my most difficult heroine to date and I puzzle with why. For millennia, her story of love and death, of power and sexuality, of domination and subordination, and of the imperial intercourse between Greek, Egyptian, and Roman civilization has excited the popular imagination, triggering passionate opinions about her identity. The historical and the fantastical have mutually nourished each other. The uncertainty about her looks, meanwhile, has allowed each generation to shape her image in the form of its desire. The ancient queen therefore constitutes more than a historical figure who can be relegated to the domain of archaeology and Egyptology; rather, she allegorizes highly charged issues having to do with sexuality, gender, race, and nation, issues that reach far beyond the geocultural space of her times. How does this monumental figure meld with me? And what are my Cleopatra fantasies? One of my Cleopatra fantasies arrived on the hillside at Montemor-o-Novo. The sky above was brilliant blue and the earth lush green below. My Cleopatra has a s cinematic glamour in these images. The harsh fluorescent lighting shines on my Cleopatra. We are world-weary—we are having a coffee, a beer, a cigarette, a break. The bad makeup, the elaborate jewelry and the golden gown contrast with the simple and mundane quality of the clothesline and the surrounding landscape. I love the fake tiger-skin blanket. Octavian sought to wrest control of the Egyptian empire from Cleopatra and Antony. There are differing stories of how Cleopatra took her own life. Some say it was by the bite of a venomous snake, others say she took some kind of poison. I wrote a blog post about the subject of her death and how it has been represented and most likely misrepresented. In the painting Cleopatra is shown with her two maidservants. I was wearing my over-the-top Cleopatra makeup and jewelry, and I had the snake. The perspective and gravity and age makes my face and skin and jewelry hang and droop and dangle. My Cleopatra appears both glamorous and grotesque, sexy and silly, strong and vulnerable. My fantasy here is that my Cleopatra has beaten the odds and has lived to a ripe old age. Of course, we are still surrounded by the danger the snake of being misunderstood and misrepresented. Luis Branco and I are excited to be exhibiting fifteen large-scale performative photographs portraying the biblical heroines Eve, Judith, and Salome in the galleries at Seidel City. We have created multiple images of each heroine. These performative photographs narrate our revisioning of each woman in my somewhere-in-her-sixties-year-old form. I combine the Serpent and the original Woman in one form—she is both offering and taking the forbidden fruit, both temptress and tempted. I love the artifice created by surrounding the quince tree with black fabric. Some speculate that the forbidden fruit in the Garden of Eden was not an apple but perhaps a quince, a fig, or a pomegranate. The story of the original temptation and the forbidden fruit baffles me. Pictured above is my next heroine Judith, the beautiful Jewish widow who saves her people by seducing the Assyrian General Holofernes only to cut off his head. I particularly love this portrayal by Baroque artist Artemisia Gentileschi. The village is under siege by the Assyrian general and his army, who are camped outside her village. Holofernes is charmed and seduced. Judith takes advantage of his weakness and decapitates him using his own sword. The Assyrian army is leaderless and in disarray after the murder of their general and they quickly leave Judea. Judith has saved her people and is forever renowned for her bravery and for using her feminine wiles and skills at seduction in the service of God and country. I sometimes re-enact historical paintings of my various heroines, inserting myself into the painting. Judith has been represented as pious and sexy, brave and vengeful, cunning and seductive. Artemisia is another heroine of mine. She was the victim of a sexual predator at a young age and still managed to become one of the most prolific painters of the Baroque period. Artemisia painted many biblical heroines and characters, often painting her own visage onto her subjects. When I insert my something-year-old-self into this portrait, Judith, Artemisia, and I echo one across time and space. The Sadistic Judith? Sherry Wiggins and Luis Branco, We recreated another portrait of Judith, one by Flemish artist Jan Massys. In The Sadistic Judith? She is no young, coy maiden, as she is in Jan Massys portrayal; she is, instead, a woman well aware of her brutal accomplishment and power. More heads roll in the story of the biblical princess Salome who famously and seductively dances before King Herod. He, in turn, grants her any wish whatsoever. Salome has been portrayed as a young, beautiful temptress who, after dancing before King Herod and his guests, asks for the head of John the Baptist on a platter. Why would Salome ask this? John the Baptist criticized Herodias and King Herod and declared their marriage unlawful, which pissed off Herodias. Blame the daughter, blame the mother. We have printed this image at 72 x 48 inches for the exhibit and it looks great! The triptych Salome at Sunset I, II, III depicts a contemporary Salome bedecked and bejeweled in a car—the joke being that the beautiful princess Salome is an older woman in her sunset years in a rental car, and she even bares her breasts. In the black-and-white image below, Salome for Oscar Wilde , Salome bows forward in a kind of fugue state, perhaps conscious of the results of her deadly wish. These images question views of women throughout history, engaging with ideas of beauty, power, sexuality and aging. The works in the exhibition are part of the larger project, Our Heroines. Our Heroines includes the works in this exhibition along with other alternative representations of additional heroines from classical, biblical, and other historical contexts. My performances of these heroines have been captured in still photographs made with Luis Branco over the last two and a half years. Humor, serious research, feminist critique, and sometimes a little kitsch all coexist in these representations. Seidel City is open Fridays and Saturdays by appointment from 1 to 4 pm. We have an artist talk on April15 from 2 to 4pm and a closing reception on April 30 from 3 to 6 pm. You can also contact me to see the exhibit at your convenience. I am a sucker for all the drama, the romance, the glamour and to some extent the orientalism surrounding portrayals of Cleopatra VII Queen of Egypt. In my previous studies and representations of heroines Eve, Salome, Judith, Aphrodite, Sappho and Helen of Troy, I have researched these figures and their representations and misrepresentations in literature, mythology, paintings, performances, sculptures, films, and in contemporary feminist criticism. I have to assume a certain amount of hubris as well as openminded investigation and humor as I embody these historic women in my 60 something year old cis-gender white woman form. She ruled Egypt from 51 to 30 BC. Her life and death story was written almost exclusively by Greek and Roman men years after her death. The Greek historian and philosopher Plutarch is a primary source. Parallel Lives describes the lives and the characters of important Greek and Roman men. Skepticism is important when reading Plutarch since the Greeks and the Romans were overtly critical and wary of this most renowned and wealthy Eastern Queen and of her relationship and hold over both Julius Caesar and Mark Antony. There was an uneasy sharing of power amongst various leaders of the Roman Empire with lots of infighting and bloody battles, Romans against Romans. Mark Antony was said to have control of the East and Octavian of the West. To make a long story short, Octavian and Mark Antony with the support and assistance of Cleopatra fought it out for control at the Battle of Actium. Mark Antony fled with Cleopatra back to Alexandria, a broken soldier and man. He also wanted to drag Cleopatra back to Rome to display her and exhibit his bounty to the Roman people. It is most likely they died separately. For Cleopatra, whether death was by asp or the poison is a big question. Cleopatra is shown as a white woman, though there is dispute about her racial heritage. The drama, the boobs, the snake, are all beautifully depicted. But others say that the asp was kept carefully shut up in a water jar, and that while Cleopatra was stirring it up and irritating it with a golden distaff it sprang and fastened itself upon her arm. But the truth of the matter no one knows; for it was also said that she carried about poison in a hollow comb and kept the comb hidden in her hair; and yet neither spot nor other sign of poison broke out upon her body. Moreover, not even was the reptile seen within the chamber, though people said they saw some traces of it near the sea, where the chamber looked out upon it with its windows. For in his triumph an image of Cleopatra herself with the asp clinging to her was carried in procession. I would like to conclude with one of my favorite representations of The Death of Cleopatra. In my research I came upon a remarkable sculpture of Cleopatra by Edmonia Lewis. Edmonia led a remarkable and difficult life, ultimately finding refuge in the international art community of Rome in Edmonia Lewis was one of the few women artists of color working in the US at this time and the only woman of color exhibiting in the Centennial Exposition. Cleopatra leans back in her throne, an informality and peacefulness in her death. Cleopatra is not a drama queen here. Lewis purposely represents Cleopatra as a white woman. Blog at WordPress. Subscribe Subscribed. Sign me up. Already have a WordPress. Log in now. Loading Comments Email Required Name Required Website.

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