Mundus Transfiguratus
Towards a Queer Mythological Ecology
Mundus Transfiguratus (2022 – present) depicts an alternative living mythological world where queer transmogrified beings take centre stage and challenge the established perception of human supremacy. The installations and performances that form part of this project emerge as an experimental participatory psychodrama with a counter narrative interwoven with fiction and reality, legends and biographies, to explore conflict, displacement and trauma, but also to celebrate hope and love, and overcoming adversity.
Part 1. The Journeys of Cliza
Cliza @ Villa Borghese
Cliza, a warrior and a descendant of Turiacus, roams through the Villa Borghese at night, seeking other warriors to form her own House.
The Occupation
Having founded their own House, Cliza and their warriors occupy the library at the British School at Rome.
Resin on ancient marble pedestal (by courtesy of BSR), 40 cm x 5 cm, 2022.
Resin on ancient marble pedestal (by courtesy of BSR), 40 cm x 5 cm, 2022.
Richard Lassel, The Voyage of Italy, 1670 (by courtesy of BSR).
Resin on ancient marble pedestal (by courtesy of BSR), 40 cm x 5 cm, 2022.
Preparation for Battle
In preparation for battle, Cliza and their retinue set up an itinerant court in the subterranean bowels of Cosmo Trastevere, in Rome.
Reel By Cosmo Trastevere
The Banquet
At the battle of Transterrum, Oretta, a descendant of Triton and the head of the House with their namesake, defeats the House of Cliza. To celebrate their victory, Oretta hosts a banquet in Rome. The heads of other houses from neighbouring lands attend the celebrations. But Cliza, who was presumed dead, storms the event with their warriors and murders Oretta and the other dignitaries.
After the Banquet, the Oracle visits Oretta and prophesies their death:
You are a flower
You are a red flower
You are a red flower full of love
You are a red flower in a lake of blood
You are no longer
You are no longer here
You are no longer now
You are no longer tomorrow
There is flower
There is lake
There is love
There is blood
But there is no longer you
Karlota's Journey
After murdering Oretta and the other dignitaries, Cliza sets off to lay claim to the lands of those they slaughtered and travels first to the lands of Karlota, a descendant of Odin and head of the House of Karlota. However, Karlota survived the attack and speedily returns to their queerdom. Who will prevail?
Part 2. The Queerdom of Brightwyna
Behold the Warriors* of the Queerdom of Brightwyna
Over several centuries, Brightwyna has built an eclectic 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 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.
