The four piece sculpture ‘Dehiscence I’ sits proudly finished with its protruding seed head emerging from a protective outer coat and softer fleshy interior. Hidden beneath (unseen) is a developing, yet ‘unborn’ next generation seed.
Intentionally a bit phallic, intentionally a bit vulvalic, the sculpture is a recognition that life is only born out of a joining of opposites. The merging of yin and yang.
When he came wholly forth
I took him up in my hands and bent
over and smelled
the black, glistening fur
of his head, as empty space
must have bent
over the newborn planet
and smelled the grasslands and the ferns.
Galway Kinnel, from the poem Lastness
These two photos don’t show the “seed stone”, but on its side — roughly formed, slowly emerging — is a second sculpture that will portray a dehiscing seed bursting out of its protective, hard casing into the world. I find this metaphor on life — the coming forth on the genes of others into a mysterious unknown — an important issue worthy of much discussion.
In a Tree House
Will someday split you open
Even if your life is now a cage,
For a divine seed, the crown of destiny,
Is hidden and sown on an ancient, fertile plain
You hold the title to.
Love will surely bust you wide open
Into an unfettered, blooming new galaxy
Even if your mind is now
A spoiled mule.
A life-giving radiance will come,
The Friend’s gratuity will come –
O look again within yourself,
For I know you were once the elegant host
To all the marvels in creation.
From a sacred crevice in your body
A bow rises each night
And shoots your soul into God.
Behold the Beautiful Drunk Singing One
From the lunar vantage point of love.
God is conducting the affairs
Of the whole universe
While throwing wild parties
In a tree house — on a limb
In your heart.
–Oil painting ‘Cosmic Heart Mandala’ by Sally Horne–
–Portrait of me by Peter Whyte–