Subliminal Artefact

 

Subliminal Artefact #1
wood, jute twine, unfired clay
w36 x h32 x d8 cm

Labouring under the sun, with red kites gliding and whistling overhead, I’ve been immersed in a kind of medieval recall, compelling me to whittle wood. The shape of the wood demanded natural twine, which I am weaving, winding, and plaiting. These sticks were collected from a nearby woodland.

Instinctively assembled, these artefacts have no practical purpose. They serve as an echo, reminiscent of a time when we were deeply connected to the land, governed by the seasons and feudal lords. Back then, contraptions were crafted to accomplish everyday tasks using readily available materials.

These simple objects stand as a totem — a tactile connection to nature and our long-forgotten tasks.

Subliminal Artefact #2 - The Weary Serf
wood, jute twine, cotton, wax, unfired clay
w50 x h32 x d15 cm

Music: The Safe - GP

Subliminal Artefact #3 
wood, jute twine, wax
w27 x h42 x d14 cm

Nahven, my spider daughter

Nahven, my spider daughter
 h80 x w80 x d1cm, oil on board

Just her legs.

These paintings are facets of the different me’s, rendered visible in paint. They are where the ‘I’ and the ‘me’ truly reside.

I haunted myself as beautifully as I could, holding a mirror to it all — metaphysically speaking. Then, I painted what appeared in the mirror.

Painting, audiovisual composition and vocal textures by Gaynor Perry

Gravel Pit Understories

After work I found a quiet spot in an old, overgrown gravel pit. Using leaf litter, and whatever natural debris is strewn about me, I’m meditatively organising these things until a sense of harmony is reached.

24 June 2024

The sound textures accompanying the film clips were created using my voice in a similarly free and spontaneous manner, conjuring up how it felt to compile each ephemeral array. 

 

25 June 2024

Beginning this land art project emerged from a desire to further develop my encephalic cleansing practice while spending meaningful, tactile time immersed in nature.

26 June 2024

28 June 2024

29 June 2024

While piecing together the final assemblage, I repeatedly heard popping sounds in the long grass around me. At first I thought it was twigs falling from the trees, but I soon realised it was seed pods exploding. This became evident when the seed pods I had placed in the gravel pit portal burst right before my eyes, taking me by surprise.

Film, photography & sound by 

Gaynor Perry

Thanks for visiting!

A Soothsayer Lately

A Soothsayer Lately
 h80 x w80 x d1cm, oil on board

This painting forms the foundation of my animation, My Wish.

These paintings are facets of the different me’s, rendered visible in paint. They are where the ‘I’ and the ‘me’ truly reside.

I haunted myself as beautifully as I could, holding a mirror to it all — metaphysically speaking. Then, I painted what appeared in the mirror.

Painting, audiovisual composition and vocal layering by Gaynor Perry

Lost Empress

Lost Empress
h80 x w80 x d1cm, oil on board

I was experiencing burnout when I created this painting. It became a balm, soothing my nervous system. 

I haunted myself as beautifully as I could, holding a mirror to it all — metaphysically speaking. Then, I painted what appeared in the mirror.

Lost Empress, decipher her language, slipping in and out of consciousness.

Painting, audiovisual composition and music by Gaynor Perry

Saint Dymphna's Medicine

 

Composed, performed, produced and mixed by Gaynor Perry

An act of kindness.

What is you? What is me?

Lost empress — decipher her language,

slipping in and out of consciousness.

Medicine.

Saint Dymphna’s Medicine.

Illegible handwriting, eerily crossing out;

the art of persuasion bending, flexing,

pushing, pulling.

Medicine.

Saint Dymphna’s Medicine.

An admission of guilt.

Was it you? Was it me?

Swallowed whole

by voluminous nights.

Medicine.

Saint Dymphna’s Medicine.

They keep trying to trick me,

they keep trying to scare me.

So I'm cavorting with wild bears,

embracing the chaos.

Medicine.

Saint Dymphna’s Medicine.

Seventh-century Irish princess Dymphna was just fifteen years old when her father, the Pagan King Damon, drew his sword and beheaded her because she refused to marry him after her mother’s death—or so the legend goes. She had fled the King’s horrendous advances, escaping to Geel with her confessor priest, two trusted servants, and the King’s fool. You can read more about Dymphna elsewhere; she is the patron saint of mental disorders.

While I was incubating this piece, the component parts assembled themselves like one of those push-up puppets — and there was Dymphna. I wanted to create a sanctuary: a place that is soothing, benevolent, and hopeful.

There is, of course, much more to say, but you can always watch and listen.

Millpond, St Helen's Church, Welton, East Yorkshire 

Thanks for visiting!

Eagles, Primates

written, performed, produced & mixed by Gaynor Perry