11 days ago
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Posted On: October 26th 2026, 07:25 am
Evening Star (2026), on display at @jacaranda.images till Nov 9.
This past weekend, retrograding Venus went into the burning heart of the sun and vanished from our skies; you might have spotted her hovering over the horizon around sunset the past few weeks, but her time as the evening star is over for a while. Around mid-November, she will reappear at dawn as a morning star. In the myth of Inanna's descent into the underworld, that evening star phase corresponds to the moment just before the queen of heaven's subterranean journey, when she hears a call rising from beneath.
On slide 5: Alchemy by Agnes Pelton, from around 1937. Her and other theosophical painters exerted an influence over my work, particularly with their idea of thought-forms, which I explored at Darat Al Funun over the summer, resulting in the project on slide 6. They claimed that, through meditation, they had ascertained what they believed to be the objective visual forms of various emotions and sensations. At the Darat, I tried working strictly with their dictionary of shapes and feelings. With my broader work, such as Evening Star, I more so lean towards an elemental, atmospheric form of abstraction, similar to Pelton's. And in recycling images over and over I find a language beginning to deveop.
On slide 7 and onwards, I found pictures of some old drawings from 2020, and noticed that the egg shape had unconsciously filtered through to my current work six years later. Eggs, bolts of lightning, flashes of light, rolling clouds, archways, and hot magma: they all seem to recur. That first drawing from 2020, of the egg with the eye, I remember coming to me in a dream.
With In Filth, I tried to work with equal parts mysterious intuitions and deliberate, meticulously planned-out compositions. The resulting body of work is therefore dense with a collection of symbols I'm sure will speak more to me with time, beyond what I intended or thought I intended.
This past weekend, retrograding Venus went into the burning heart of the sun and vanished from our skies; you might have spotted her hovering over the horizon around sunset the past few weeks, but her time as the evening star is over for a while. Around mid-November, she will reappear at dawn as a morning star. In the myth of Inanna's descent into the underworld, that evening star phase corresponds to the moment just before the queen of heaven's subterranean journey, when she hears a call rising from beneath.
On slide 5: Alchemy by Agnes Pelton, from around 1937. Her and other theosophical painters exerted an influence over my work, particularly with their idea of thought-forms, which I explored at Darat Al Funun over the summer, resulting in the project on slide 6. They claimed that, through meditation, they had ascertained what they believed to be the objective visual forms of various emotions and sensations. At the Darat, I tried working strictly with their dictionary of shapes and feelings. With my broader work, such as Evening Star, I more so lean towards an elemental, atmospheric form of abstraction, similar to Pelton's. And in recycling images over and over I find a language beginning to deveop.
On slide 7 and onwards, I found pictures of some old drawings from 2020, and noticed that the egg shape had unconsciously filtered through to my current work six years later. Eggs, bolts of lightning, flashes of light, rolling clouds, archways, and hot magma: they all seem to recur. That first drawing from 2020, of the egg with the eye, I remember coming to me in a dream.
With In Filth, I tried to work with equal parts mysterious intuitions and deliberate, meticulously planned-out compositions. The resulting body of work is therefore dense with a collection of symbols I'm sure will speak more to me with time, beyond what I intended or thought I intended.
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