Mundus Transfiguratus
Towards a Queer Mythological Ecology
Mundus Transfiguratus depicts an alternative living mythological world where queer transmogrified beings take centre stage and challenge the established perception of human supremacy. This experimental counter narrative interweaves fiction and reality, legends and biographies, to explore conflict, displacement and trauma, but also to celebrate hope and love, and overcoming adversity.
Part 2. The Queerdom of Brightwyna
Behold the Warriors* of the Queerdom of Brightwyna
Over several centuries, Brightwyna has built a collection of votive figurines. Unbeknown to Brightwyna, amongst their votive collection there are four figurines, which are believed to have been destroyed long ago, that have special powers. They were created by an unknown ancient sorcerer with the help of Arawn and gifted to the four ruling Houses: Cliza, Oretta, Karlota, and Brightwyna. The statues give their owner the power to shape-shift into any being they desire, changing their own appearance in the process to that of the temporary appearance of their owner. But once their owners return to their original appearance, the figurine’s own appearance returns to that of their original rightful owners. These statues came into Brightwyna’s possession when an antique dealer sold Brightwyna a solid marble cube engraved with the stamp of Composita, the goddess of composting. Upon arrival at Brightwyna’s house, the cube spontaneously disintegrated itself revealing the four statues.
*Recent research funded by the House of Karlota and conducted by the Institute for the Study of Ancient Artefacts (ISAA) has revealed that Brightwyna's figurines, which were previously thought to represent deities, are offerings honouring fallen queer warriors.
Variable dimensions
Variable dimensions
Landscape Divinations
These conceptual performative paintings were born out of the symbiotic relationship between Brightwyna and their natural environment. Brightwyna enters a trance state and in deep communion with nature creates paintings that answer their questions about the future. Nature’s answers take the shape of impressions made by the organic material, which was collected from the landscape, falling on the canvas.
Storyline
The House of Brightwyna
The House of Brightwyna are human-deer descendants of Cernunnos. The House of Brightwyna was founded inside an ancient mega caldera where the air was too toxic to most, except members of the House who developed immunity throughout the times. Even though the House was protected by its position, it was eventually obliterated during the War of Torcs, when human warriors released a deadly genetically-modified virus on Brightwyna’s land. The House was the main manufacturer of golden torcs in the world, with some of the surviving exemplars being of exquisite quality, and this brought great envy to the neighbouring human tribes. An ancient torc, said to give its wearer the power to communicate with any living being, was lost during the war.
Brightwyna
Brightwyna is the only known survivor of the House of Brightwyna. Brightwyna is a Queer psychopomp – they walk between the worlds and escort newly deceased queer souls to the afterlife. Along with Karlota, Brightwyna survives the massacre at the banquet of Oretta in Rome. Brightywna loves daffodils, collects votive statuettes, and is the proud owner of the first editions of all of Mary Butts’ books. Mary and Brightwyna were close friends and it is said that Brightwyna inspired Mary to become an ardent nature conservationist. Brightwyna is extremely photophobic, so you will never see them in daylight. Their favourite colour is purple. Brightwyna fell in love once, when they escorted the trobairitz Comtessa Beatriz de Dia on her journey to the underworld. Upon setting her eyes on Beatriz, Brightwyna’s heart leapt with such joy that they delayed Beatriz’s entry into the underworld for as long as they could by asking Beatriz to sing endless Occitan love songs.