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.
Using no drawings whatsoever, ceramicist Matthew Chambers has produced a series of spherical vessels that communicate a sense of fast, kinetic movement. Using a pottery wheel, he layers over ceramic layers into one single structure… producing gorgeous results.
POTS Theory: Duke Turomot is an extension of the Chamber of Ordeal. He totally calls it when Joren is judged and punished by some higher being. He also views things as hard and truth-driven as the Chamber. Maybe the Chamber chooses vessels just like the gods. It does it with Kel, maybe the same with the duke.
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.