Maters Matter Mother
I am honored to share the smaller more affordable 30” x 22” edition of this wonderful piece by the great Star Feliz. Many of the themes that interest me are found here. Hathor, Plant Medicine, Mermaids, Water, and Carribean Divinity. Please read further to understand the print in Star’s own words:
Maters Matter Mother
The print collaboration, Maters Matter Mother, emerged from natural conversations with my friend and fellow artist Kate Hall. We would talk about everything from alien communication through water, the reverberating aftermaths of trauma, and the latest dating gossip. And this intimacy of ideas and tenderness of heart just flowed into every step of the process.
I started by picking out images found from my digital archeological digging and mundane diaristic photography. Looking through I asked, what am I looking with? It’s a process of synthesizing information within the influx of images that feels so natural to me but is actually a major sign of the contemporary age. And the black and white ink carries this effect of something like an artifact of history.
So the silkscreen print becomes a motherboard of memory – a cosmic technology assisting the brain in processing input, assessing our soul’s mythic cycles, and ultimately constructing a world from several timelines. And in partnership with Kate, I was able to create the largest print I’ve made until now. At 44 x 30 inches it feels monumental, and it’s important for me to take up space with a presence that mirrors our own bodies – immersing us in ancient codes of knowledge.
In the essay Carrier Bag Theory of Fiction the science fiction author Ursula K. Le Guin states that “the first cultural device was probably a recipient…we made a tool that brings energy home” in antithesis to the theory that the first human tool was a sharp tool made for killing. I’ve been thinking a lot about Matriarchy recently in relation to how societies are currently modeled. The etymological origin of Matriarchy is in ‘the beginning, the mother’. I think that Western history’s inability to see the “carrier bag” as the first tool is beyond its material ephemerality that evades the archive, but this inability lies in a worldview that disavows “feminine” ways of seeing, knowing, and being all together.
So the title Maters Matter Mother is an etymological nod to the origin of the universe, systems of knowledge, and the technologies brought forth through this ever pervasive connection. In my artistic practice I’m always engaging with themes of origin — contested places, elemental materials, cyclical patterns. Assemblage as a form itself can symbolize the nature of origin with each element being one intelligent cell within the body of a conscious whole.
Through this process I really became excited again about ways to make seen the ephemeral process of capturing, and mythologizing everyday portals like screenshots that shape our lives. “Plants take us to the stars / The heart is the portal / Returning, always / Our waters remember” is a reference to the solid ground of my Afro-Taino plant medicine lineage that I stand upon and spread with in new directions. I think that life is a creation story that we expand upon in collaboration with the universe. And the body, the recipient, contains it all with flawless precision.
This beautiful print is a limited edition and all sales are final
I am honored to share the smaller more affordable 30” x 22” edition of this wonderful piece by the great Star Feliz. Many of the themes that interest me are found here. Hathor, Plant Medicine, Mermaids, Water, and Carribean Divinity. Please read further to understand the print in Star’s own words:
Maters Matter Mother
The print collaboration, Maters Matter Mother, emerged from natural conversations with my friend and fellow artist Kate Hall. We would talk about everything from alien communication through water, the reverberating aftermaths of trauma, and the latest dating gossip. And this intimacy of ideas and tenderness of heart just flowed into every step of the process.
I started by picking out images found from my digital archeological digging and mundane diaristic photography. Looking through I asked, what am I looking with? It’s a process of synthesizing information within the influx of images that feels so natural to me but is actually a major sign of the contemporary age. And the black and white ink carries this effect of something like an artifact of history.
So the silkscreen print becomes a motherboard of memory – a cosmic technology assisting the brain in processing input, assessing our soul’s mythic cycles, and ultimately constructing a world from several timelines. And in partnership with Kate, I was able to create the largest print I’ve made until now. At 44 x 30 inches it feels monumental, and it’s important for me to take up space with a presence that mirrors our own bodies – immersing us in ancient codes of knowledge.
In the essay Carrier Bag Theory of Fiction the science fiction author Ursula K. Le Guin states that “the first cultural device was probably a recipient…we made a tool that brings energy home” in antithesis to the theory that the first human tool was a sharp tool made for killing. I’ve been thinking a lot about Matriarchy recently in relation to how societies are currently modeled. The etymological origin of Matriarchy is in ‘the beginning, the mother’. I think that Western history’s inability to see the “carrier bag” as the first tool is beyond its material ephemerality that evades the archive, but this inability lies in a worldview that disavows “feminine” ways of seeing, knowing, and being all together.
So the title Maters Matter Mother is an etymological nod to the origin of the universe, systems of knowledge, and the technologies brought forth through this ever pervasive connection. In my artistic practice I’m always engaging with themes of origin — contested places, elemental materials, cyclical patterns. Assemblage as a form itself can symbolize the nature of origin with each element being one intelligent cell within the body of a conscious whole.
Through this process I really became excited again about ways to make seen the ephemeral process of capturing, and mythologizing everyday portals like screenshots that shape our lives. “Plants take us to the stars / The heart is the portal / Returning, always / Our waters remember” is a reference to the solid ground of my Afro-Taino plant medicine lineage that I stand upon and spread with in new directions. I think that life is a creation story that we expand upon in collaboration with the universe. And the body, the recipient, contains it all with flawless precision.
This beautiful print is a limited edition and all sales are final
I am honored to share the smaller more affordable 30” x 22” edition of this wonderful piece by the great Star Feliz. Many of the themes that interest me are found here. Hathor, Plant Medicine, Mermaids, Water, and Carribean Divinity. Please read further to understand the print in Star’s own words:
Maters Matter Mother
The print collaboration, Maters Matter Mother, emerged from natural conversations with my friend and fellow artist Kate Hall. We would talk about everything from alien communication through water, the reverberating aftermaths of trauma, and the latest dating gossip. And this intimacy of ideas and tenderness of heart just flowed into every step of the process.
I started by picking out images found from my digital archeological digging and mundane diaristic photography. Looking through I asked, what am I looking with? It’s a process of synthesizing information within the influx of images that feels so natural to me but is actually a major sign of the contemporary age. And the black and white ink carries this effect of something like an artifact of history.
So the silkscreen print becomes a motherboard of memory – a cosmic technology assisting the brain in processing input, assessing our soul’s mythic cycles, and ultimately constructing a world from several timelines. And in partnership with Kate, I was able to create the largest print I’ve made until now. At 44 x 30 inches it feels monumental, and it’s important for me to take up space with a presence that mirrors our own bodies – immersing us in ancient codes of knowledge.
In the essay Carrier Bag Theory of Fiction the science fiction author Ursula K. Le Guin states that “the first cultural device was probably a recipient…we made a tool that brings energy home” in antithesis to the theory that the first human tool was a sharp tool made for killing. I’ve been thinking a lot about Matriarchy recently in relation to how societies are currently modeled. The etymological origin of Matriarchy is in ‘the beginning, the mother’. I think that Western history’s inability to see the “carrier bag” as the first tool is beyond its material ephemerality that evades the archive, but this inability lies in a worldview that disavows “feminine” ways of seeing, knowing, and being all together.
So the title Maters Matter Mother is an etymological nod to the origin of the universe, systems of knowledge, and the technologies brought forth through this ever pervasive connection. In my artistic practice I’m always engaging with themes of origin — contested places, elemental materials, cyclical patterns. Assemblage as a form itself can symbolize the nature of origin with each element being one intelligent cell within the body of a conscious whole.
Through this process I really became excited again about ways to make seen the ephemeral process of capturing, and mythologizing everyday portals like screenshots that shape our lives. “Plants take us to the stars / The heart is the portal / Returning, always / Our waters remember” is a reference to the solid ground of my Afro-Taino plant medicine lineage that I stand upon and spread with in new directions. I think that life is a creation story that we expand upon in collaboration with the universe. And the body, the recipient, contains it all with flawless precision.
This beautiful print is a limited edition and all sales are final