I am honored to have been invited to this year’s Viridis Genii Symposium as a presenter and workshop host! The virtual event took place September 23rd – 25th 2022. I am glad we made it work despite the 9 hour time difference. I shared nearly all my knowledge on plants and creating art with them and introduced my way of combining ritual magic with phytography. It was wonderful to receive such positive feedback both on my presentation and workshop.
Creating Magical Images of Plants – Combining Phytography and Ritual Magic
1 hour lecture + 3 hour workshop included the following topics:
methods of ritual magic, sympathetic magic and planetary magic
indepth information on plant pigments
short history of nature printing
alternative photography processes feat. work by Malin Fabbri and Kristina Feldhammer
Datura wrightii flower at Pinwheel Cave California
examples of phytographs created with coffee and plants
workshop guides through the ritual creation of your own magical plant paper talismans
question & answer on anything plant/ritual related
Workshop materials provided to attendents include:
ritually harvested, pressed flowers and plants
absorbent paper
signed print of the witch hazel seal
Phytographs created during the 3 hour Workshop:
Magnolia, hour of Venus
Fennel, hour of Mercury
California Poppy, hour of Mercury + Moon
Blue Lotus, hour of Moon
Witch Hazel, hour of Saturn
My gratitude goes to the organizers Catamara and Marcus as well as the team of people that made it all possible, especially Kim, Katrink and Prof. Porterfield. Huge thanks also to the people that attended and took part in the workshops, especially David!
I am looking forward to the next point in time when the portals open for communing with the genii of the plant kingdom.
ROOT is the inaugural exhibition hosted by The Organic Centre & creatively coordinated by artist Sarah Ellen Lundy as part of the pairs ongoing collaborative ‘Project Earth’.
An Evening of Dark Art and Music (originally posted on teufelskunst.com)
The third Samhain Celebration combined again some of the best black metal as well as exclusive hand-made art. Ybenhain offered resin jewelry and items made of forest finds. You can check out the creations at the Ybenhain Instagram. In contrast, Black Arts of Mine creates all things from metal and bone. He contributed etched copper pendants and pins with the Samhain Harvest Seal for the event. Noteworthy, the precision work on a copper hendecagram (see below). Weird, the metal chest with a fly engraving, housing a steel cased vial filled with a dozen dead flies. For more please visit the Black Arts of Mine Instagram. I myself contributed new art editions as well as an ever growing assortment of incense blends.
A reason for people to travel as far as from the States were the bands. I was able to take a few snapshots of Turia, and the Mosaic feat. Schwadorf set as well as Fyrnask.
Signature feature and fundament for the evening’s special atmosphere, always appreciated by the audience, is the unique stage, annually adorned with reeds, ivy, chestnut garlands, corn dolls, carved skulls and this year’s corn sun. Connecting it all since three years is the Seal of the Harvest in the back, which I once designed for the event.
The Samhain Celebration in Gotha is one of those rare occasions where I can show presence with my art and meet like-minded people. It is a unique combination of art, tradition, music and spirit, which both is highly satisfying for the performers as well as the audience. Making it all possible are the people of The House of Inkantation, Eisenwald and a handful of helpers.
My first time out in Düsseldorf, also my first time going to a concert in ages, and also I had not bought any new music for a long time. Nor had I heard of Wendy McNeill before. Until fellow photographer Adrien of Nekrographie gave me the tip. I had no idea that he has been a huge fan of her for years. Well, now I understand why. It’s one of the best things in life, going to a show and falling in love with an artist right there. Even better, to be able to get to meet and chat with them afterwards. So, now I have been out in Düsseldorf, I went to a concert, and bought lots of new music. Mission accomplished. Thanks Wendy and Adrien!
Wendy Mc Neill sings and plays the accordion and guitar. She tells stories so vividly and captivating that it is easy to get lost in tales of wolves, sirens and unlucky men…
“Bad Intentions” Exhibition Opening @ Circle 1, Berlin
The candles have been lit, the incense has been burnt; my work now vibrates in the rooms of gallery Circle 1 until December 23rd. What started as a vague idea of creating artwork for a list of magical plants, has years later finally taken shape. Now was the point when everything fell into place naturally. It was preceded by searching and researching, trial and error, sowing, growing, loss and gain in the very basic and earth-bound occupation as a gardener and harvester. The first hand study of the actual plants laid the foundation, my rediscovered love for ink became the tool for manifesting my visions.
The installation is hence titled “Harvest” and consists of an earthen altar with dried plants and harvest related offerings: self baked bread, honey from the neighborhood and self-made beeswax candles. The souls and spirits that were contained in the once alive, now dead corpora of the plants, find a new house in the form of fetishistic ink drawings: the “Sigilla Magica” series.
With these new forms I also find an own language, which aims to both entertain and communicate memes to the viewer. 12 ink drawings reference 11 magical plants as well as the ‘queen bee’ – “Regina Bombina” – governing the vital interaction between plants and pollinators. In addition, 2 anthropomorphic drawings depict the Aconite and Mandragora in half-human form, as the armed and poison-dart struck “Wolf Shaman” and beheaded and re-headed “Regina Amandrakina” with her freakish offspring. Lastly, 2 botanical studies of the roots of the Aconite and Mandragora are meant to act as a bridge between abstraction and realism and honor the individual and fascinating shape of each in detail.
Some of the works:
“Regina Amandrakina”, “Wolf Shaman”, gallery CIRCLE1, Berlin 2017
“Pathfinder” 2017
“Gorgon” 2017
“Regina Bombina”, “Autumn Crocus”, “Mullein” 2017
“Solomon’s Seal”, “Fennel” 2017
Impressions from the vernissage:
curator Avi Pitchon with the “Harvest” installation
punk legend, writer and curator Avi Pitchon acts in a short film by Keren Cytter
suicide hitler by Merav Kamel & Halil Balabin, suicide bomber by Osama Zatar
not so serious, the “Hourglass” by Merav Kamel & Halil Balabin
Thanks to all involved!
17.11.-23.12.2017 – Bad Intentions,
a group exhibition curated by Avi Pitchon and Alona Harpaz
I am happy to share the news with you that I will be part of the exhibition “Bad Intentions” at Circle 1 gallery in Berlin, opening November 17. You are all invited to attend and spread the news!
This is a unique opportunity for me to bring my plant inspired art to a new audience. I will be showing ink drawings of my “Sigilla Magica” and illustrations, supported by an installation with different magical herbs from my garden and surroundings.
Below a quote from the introduction text, by curator Avi Pitchon:
“Bad Intentions” seeks to modestly contribute a tiny voice to hopefully echo into a massive abyss. The title is a reference to the good intentions of ‘artivism’, and where they lead to: the disappearance of both art and activism. The exhibition does so by staging an absurd tear between art and artist, in the hope that a gaze into the tear might enable a distinction between art and politics. The artists selected for this group exhibition are Jewish-Israeli, Palestinian-Israeli, Jewish, Palestinian and German. However, no artwork in this exhibition forms an explicit mirroring of any social or political tensions formed within the above ethnic/national triangle. The artwork does not ‘speak for itself’; it simply speaks by itself. “Bad Intentions” intentionally ignores the background and circumstance of the artist, in order to destabilise anything that is expected of such a grouping of artists, because all of those expectations are not only tired cliches, they also silence the speech of art. “Bad Intentions” is thus an invitation for the viewer to empower themselves by placing the weight and responsibility of attention on them; by not providing crutches of meaning.
Carved horse skull by Kvlt&Knochen, featuring the Samhain Harvest Seal
One week ago I took part in the second Samhain Celebration, hosted by the House of Inkantation, at The Londoner in Gotha. I attended bleary-eyed yet exited. I had worked until the very last minute on the artworks and merch, which included ink drawings of my sigilla magica, samples and glass jars with my self-made incense blends, the last Teufelskunst rosaries, postcards and the original art I had done for German doom band Werian.
The House of Inkantation folks prepared again a unique stage design, which was crowned by a horse skull, into which G. Bergfex of Kvlt&Knochen had carved and imbued with blood the official Samhain Harvest Seal. On the stage performed Rim Runa, Werian, Forndom, Sun of the Sleepless and Malokarpathan. Another special treat were the dedicated wooden boxes pyrographed by C. & M. Falkenstein.
Dedicated box with VIP pass and leather amulet, pyrographed by House of Inkantation
My company, the photographer Anne Ida Helmer, has set herself the goal to document me – by all means not an easy task. But I was glad to have her around. We spend the whole weekend in Gotha, touching base and forging future plans. It was nice to finally meet some of the people in person, whom I had done artwork for, and to get to know new faces. I was overwhelmed by the support and interest in my work. This made me forget the sacrifices of the past weeks. It was also refreshing to get to witness new music, bands I had and had not heard of before. I come out of this gathering with new art commissions, possible participation in new events and more.
Thanks to all involved, who made this year’s celebration of the end of summer a success beyond expectations. Thanks in particular to the House of Inkantation/Eisenwald, Mosaic, Werian, Photos of Kaos, Kvlt&Knochen and friends from Austria and Switzerland, the rest of the merch team, Forndom and Anne.
Below some impressions…
Art Crossing: Werian performing on the Samhain stage in Gotha, with art by me and House of Inkantation
Werian, Teufelskunst Wolfsbane sigil used on stage
“Wolf Shaman” artwork, done exclusively for the band Werian, accompanies their stage rituals
Werian, upcoming album Lunar Cult Society is available for pre-order
Sun of the Sleepless, intense performance
Inkantator K. performing with Sun of the Sleepless
Esoteric art exhibition and talk event, St. Augustine's, London Hackney, 21st - 23rd of March 2014
This was an unusual art exhibition as well as an unusual occult gathering. This event was different in a number of ways. It was also a personal challenge.
If you would have asked me two weeks earlier about going to London and exhibiting my art there, I would have declared you insane. But it happened. All my concerns, about lacking the funds, health, whatever, and other obstacles magically vanished, just one week before eventually embarking on my journey to London. It would be the first time in seven years.
It felt like a tip on my shoulder, followed by a physical and mental boost. The next few days I was like a maniac, preparing prints, packing art, clothes etc. Everything had to fit into a board case. The woman at the print shop became my best friend. I booked the flights last minute and eventually, after days and nights of no-sleep and few hours of rest, I found myself on the bus to Berlin airport, feeling lucid yet focused, constantly going up and down mental check lists.
“A tower of an event…”
The tower usually evokes a dark and fearsome image. However, my journey went smoothly. When I say smoothly, I mean everything worked out perfectly. I was on time, did not forget a thing, did not loose anything, flights, buses, trains – whatever was needed to get to the place did not let me down. If I was lost for the way, people helped me find it. I was met with so much friendliness that I eventually started wondering whether any of this was real.
“A circular gathering…”
It is the day of the vernal equinox. When I arrive at Andrea Kundry’s place, the other guests are already involved in animated conversation. I know noone and expect to be plutoed as the ‘German girl’. Instead I am welcomed warmly and find myself instantly involved in creatively engaged talk. It is Charlotte Rodgers who takes the initiative; Glen Tomney and Roberto Migliussi join and a couple of minutes later we are talking art and meanings. It will continue throughout the event.
We have no time to loose and soon head straight to the location: St. Augustine’s tower appears as a solitary monument in the middle of London Hackney, medieval and out of place looking, reminding indeed of the tower tarot card. At the entrance, which is locked, we meet a little woman named Paula, who is dressed in hippie apparel. By little, I mean that she is maybe less than 5 feet tall. She has come here for the equinox and to light a candle in front of the tower, which she explains, is situated on the same ley-line as Stonehenge. She also tells us the tower was the oldest church tower of entire Britain and twelve monks had committed mutual suicide in this building. Her words sound like the perfect initiation into the event.
Unlocking the gate, we promise Paula to leave her candle burn, even though I wonder how any candle would remain lit under these conditions. This equinox comes rather as a late come-back of winter than a warm spring beginning.
Then we entered…
The tower’s inside is flooded with day light, shining through tall Gothic windows, illuminating layers of dust collected on cobwebs and the various artworks positioned on tables and hung on wire threads. In one corner, covering a wooden balustrade, hangs resplendent the large image of a black devil dancing on skulls and sticking out its tongue. It is painted by Dolorosa de la Cruz.
Passing art by Andrea Kundry and intricate sculptures by Charlotte Rodgers, we proceed up a narrow stairway and enter a small room that houses the tower’s clockwork. A reproduction of Amodali Zain’s iconic work is arranged alongside miniature paintings by Jezebel Halewood-Leagas, to be joined by various drawings and a goblin-themed assembly by Glen Tomney. In the same room I am later also setting up my long exposure nature photographs.
Crossing a small wooden bridge, we enter a second room with animal sculptures by Charlotte Rodgers. The iridescent black feathers of a winged corvid creature refract the daylight into its single parts. The bird resides over the talks, meditations and musical evenings taking place here.
We climb up to the last floor, the tower’s attic. In a dark corner presents itself an enormous vulvic shrine dedicated to Pomba-Gira. It consists of multiple ceramic and paper pieces, all created and set up by Angela Edwards. Two visitors are leaning thoughtfully over the installation. Later there will be Christian visitors inspecting the tower and wondering about the unusual happening and they will be shocked and confused by Angela’s work. But even esoteric folks visiting the tower for the exhibition will react ambiguous and unable relating to the presentation. It is the first time for me getting to know Angela and her work, and I too have to sort my feelings in regards to its provocative and violent yet strangely beautiful and enigmatic forms. I shall learn later, how much substance there is to it. Angela provides the viewer with candles and incense for paying respect to the spirits. So I light some, the rest remains an inner dialogue. Later I will spend more time chatting with Angela and without knowing or deciding on it, we are to stay in touch for years to come.
The inside of the tower is cold, electricity is not working properly and there are few facilities for hanging up our work, as it is forbidden to hit nails into the walls of the historical building. But somehow we manage by improvising: arranging our works in window frames, underneath timber beams, at the edge of protruding wall stones and on the wooden doors encasing the clockwork. At night we light candles to illuminate our artworks. The natural light and warmth of the candles creates a special and beautiful atmosphere inside this unique location. After three days at the tower none of the pieces would feel quite the same. Amidst cobwebs and dust centuries old they become charged with the special vibes of the place.
The following day we are greeted with storm and hail whilst the sun keeps on shining, creating a twilight mood, which again reminds me of the imagery on the tarot tower card…
Below is the view from the tower’s entrance towards the churchyard with its old gravestones. Rooted directly in front of the tower is a beautiful majestic tree, looking all the more dramatic against the scenery in the sky formed by dark clouds, sunshine and hail. Beneath, see also a sandstone relief mounted at the left side of the tower’s entrance, showing three skulls with triple crossed bones, hourglass and dragon wings – a memento mori, representing mortality, evanescence and resurrection.
Saturday is full-packed with talks, meditations and musical performances. On top of a busy schedule, Andrea, the organizer herself continues feeling (and looking) ill, despite hoping for recovery until the very last minute. As she can not attend her own talk, she asks me to jump in. Suddenly I find myself in the unexpected situation of having to talk in front of a foreign audience, in a foreign language, who are expecting in depth info and insights about the very location of this event, St. Augustine’s. Instead I fill the spot with talk about memes, the symbolism of plants and drawing, handing around my sigil cards for inspired conversation. Somehow we manage and my Sigilla Magica gain the attention of the audience.
Saturday evening ends with a jam session by Roberto Migliussi (vocals), Chris Chibnall (theremin), Gavin Semple (guitar), Mark O Pilkington, Glen Tomney and Freya Black (magic flute). The tower provides amazing acoustics and so we sit there, chatting and listening to the wondrous vibrations.
On the last day it is time to pack and leave. We say goodbye, exchange contacts and return to our homes. Some people I meet throughout the event, are probably of high relevance within the London/UK esoteric scene. But my mind is already overwhelmed with new impressions and my journey is not over yet, as I am invited to check out two esoteric book stores. I need to catch my flight though and so there is only time left for one. We check out Watkins Books, recommended by Roberto Migliussi. I am impressed by the beauty of the place as well as the sheer amount of esoteric books on the shelves. I don’t think something similar exists in Germany. Roberto also purchases the very first of my sigil card sets and simultaneously entrusts me with the task of coming up with a better packaging for them.
I will be attending and participating in the London MAGICAL ART/E, a circular tower of an event this weekend. The happening takes place at St. Augustine’s tower, Hackney, London, providing a unique location for performances and exhibitions. Coming with me are 20 photo prints from the Listen to the Silence series as well as prints of my drawings and abstract sigil art. Below is a photo of the tower.
Wiebke Rost 