Dream of the chamber of vessels, 1.10.15

Yet another encounter with the ambiguous female character that keeps invading my dreams. This time she presents herself as an “ancient woman” (Lilith?) that can only be summoned within a specific chamber of a labyrinthine palace (?). The chamber can be recognized by dozens of vessels or lamps set on its floor. Lilith sprouts directly from a wall as a result of some alchemical (?) manipulations of mine the particulars of which are unclear. Her body is never completely human; I have a feeling she is a homunculus conjured by the dream world/the labyrinth as a means of communication. We spend the day talking and exploring the palace; she keeps levitating slightly behind me and disappears at some point when I turn around to address her. In my dream I enter the labyrinth many times and never fail to locate the chamber and summon the ominous entity.

This study is an important record because my dream seems to have been directly inspired by a very similar vision my son had experienced the previous night. In his dream Lilith was summoned in the course of a sleep-like trance and emerged from folds of flesh covering the walls of a living maze.  

Acrylics on paper, 29.5 x 20.3 cm  

I Took Her To Mars (a poem)

I Took Her To Mars

“I took her to Mars, to show her some stars…”

That is what I would sing to her, when we kissed,
Humming the words against her lips
Til she would have to break the bond and giggle…
She said she could feel the tone, the vibrations down to her feet,
Passing through all the wonderful places inside her along the way,
Til her whole body became those silly words, over and over,
Echoing from vessels and chambers, through tubes and tendons,
Bringing her alive, awake and desirous…
She said if she closed her eyes then she could almost see us there,
Lying on the dusty red sands of that world,
Pink sky above us lit by a smaller Sun, and dotted with stars and moons,
See us making love with the dirt of the War-God’s world sticking to our skin
Like a second coating, secreting us from chill, whispering winds
That blow through our kisses and sexual embraces….
And her giggles would fade to a dreamy smile,
To a stare that would cause me to lose my place
As I fell into those eyes like the pull of eternity…
And I would have to kiss her once again,
Just to feel the warmth of her lips
As I sing those words again down into her mouth…

“I took her to Mars, to show her some stars….”

(… a very old poem from my first book back in 2003…)

Double-chambered vessel with monkey

Veracruz, Mexico. 600 AD to 900 AD.

Veracruz sculpture is among the most admired of ancient Mesoamerica yet its study has long been subsumed under the aegis of the highly visible Teotihuacan and Maya civilizations. Veracruz refers to the central Gulf Coast of Mexico and has served loosley as a stylistic designation for all art eminating from the region. Its art reflects the influences of both Teotihuacan and Maya as well as a distinct aesthetic that developed locally. Ceramic sculpture reaches its greatest expression during the Late Classic. Life-size figures from El Zapotal, Remojadas “smiling figures,” pull-toy animals on wheels, and helmeted warriors with removable armor are but a few of the creative forms known. Seemingly free from the constraints of their neighboring super powers, Veracruz ceramicists sculpted naturalistic, highly animated human figures, animals and supernaturals. Facial expressions and disctinct hand gestures are the most striking features of figural ceramics. This double-chambered vessel combines a simple flask with the body of a monkey, and can aptly be described as an effigy bottle. The elaborate scroll patterning in the cartouches is most closely associated with the art of Classic Veracruz, where the vessel is said to originate.

The Walters