Metafiction, Myth and Language: A World in Words (and Pictures)

 Today's tutorial went well, focusing mainly on space - both physical and visual, in the 'museum'/exhibition layout, and in the text itself, which is now in the final editing and presentation stage. We discussed the nature of traditional museums and how they tend to put the visitor through a planned timeline of experience - navigating different places and spaces - circular and/or linear. This came back to my sketchy idea of enforcing some kind of cyclical physicality upon the visitor to my space - bringing them back to the beginning (cf. the ouroborus snake design, again). Seeing strong examples of what can be done with art books and layout had influenced my thoughts on using more white space in the book/text (and reflecting this in the physical museum layout) - by adding blank pages, or creating extra spaces between lines and words at crucial points in the narrative, and interpolating the drawings of characters not as illustrations but as 'break points', for exampl

 The ouroboros - an ancient symbol of fertility, totality, eternity, being a serpent or dragon chewing its own tail. The design below is a 'cleaned up rough' of the first visualization I created for this project, last autumn, and grew out of a sketchbook scribble originally planned to be a collaboration with a metalworking student, aimed at producing a brooch or similar piece of physical jewelry design: With its horn or antler, the design also echoes the hybrid beasts of Celtic/Pictish design, and my own 'cosmic beast' which is supposed to embody attributes of all animals, being the progenitor of all species. The design is also intended to look in two directions at once, in something of an Escher-like visual paradox - the tail curving around in one plane to be held in the mouth, but also suggestive of moving away from the viewer and ending up behind the snake's head, hinted at by the distortion applied to the bodily decorations, and the fact the inner space is not

 A most excellent curatorial tutorial today pulled things in a totally unexpected - but possibly inevitible - direction, given the themes of deconstruction, subversion and metatextuality which have been at the forefront of things lately. It all started when we dismantled the glass display case to get some stones inside...and then we started moving things around... Currently it's all about utilising the space, and subverting the expectations of what a traditional museum ought to look like, even down to whether the explanatory texts ought to be placed alongside their corresponding exhibits - and in a sense also echoing early 20th Century criticism of Beowulf  (which Tolkien confronts in his famous essay The Monsters & the Critics ) that the 'marginal elements' (i.e the monster fights and the dragon) are given centre-stage (because, obviously, any 'serious' epic must not trouble the reader with such trivia - despite the plethora of sea-monsters, one-eyed giants and

 Trying to figure out exactly how the finished, printed book will look with very little actual time remaining (I reckon I'll need at least 3 weeks to allow for the printers getting the job done and delivered, depending upon 'the situation' out there), so this evening I cleaned up a couple of the character designs into .eps image format so they can be resized to any scale. The 'marching band' of Ulfhednar border design and the Gifli character turned out quite nicely:  I'm not sure how much of this kind of thing I want to use - or how I could use it - as one of the plans at the outset was to produce visual work with physical and material qualities in order to get away from any form of 'illustration'. Besides, there's plenty of great artists out there who can do this kind of Celtic design work ten times better than me with beautiful knotwork and so on, but what I can bring to the visuals is a certain individuality, I reckon.  But I did always see the Ul

 A few thoughts (and collected fragments of research) regarding oral, written, and recorded texts and stories… Whilst the printed text of the Gyldlandsaga can best be described as an ‘epic saga’, I decided to deconstruct the meanings of both those descriptive terms (both of which can also be used as nouns). Namely: epic ( derived from) Epos < L. < Gk. epos = “word, song”; stem of eipein = “say” → early unwritten narrative poetry celebrating incidents of heroic tradition. saga < O. Norse (Icelandic) 2. Partly after G. “sage” – mythical story, handed down by oral tradition; historical or heroic legend. (Source: The Shorter Oxford English Dictionary, 3 rd . ed., BCA, 1988). The interesting connection here is the oral nature, or unwritten aspect of [what has become] the text. The origins of the epic are in song – that which is spoken or sung – and numerous references to songcraft are made throughout the text. Several times, Sigfri recites (or sings) to an audience; a

 Managed to find some time today to visit my exhibition space and begin to arrange things. The solid display case has been delivered and I'm thinking now of putting the two largest stones under glass. Will we have a public show of any kind in August? Only time (and the government) will tell, but it's a nice goal to be working towards anyway. In the meantime, the writing of the epic saga continues...

 While this week has proved to be the most harrowing I've ever faced to date, yesterday I still managed to find time to sneak in a flying trip to Auchmithie on the coast to capture a piece of very impromptu 'cave art':  The whole operation took no more than 20 minutes, including actually finding a suitable cave spot on the beach (luckily the tide was out, as I hadn't had time to check beforehand). The painting, intended to resemble the ancient red ochre tradition, was simply ground sandstone powder ( prepared in a previous post ) applied with a wet brush (and finger) and, I think, looks actually OK. The painting is designed to resemble the head of the raven god Hrefni, who is lord of storms, and is therefore an invocation to him by fishermen for calm seas: As I forgot my sketchbook with the full-length figure of Hrefni and his shaman's drum, I would like to revisit the caves at Auchmithie and spend longer realising another piece of prehistoric cave art, which can th

 Family business having delayed development work somewhat, today I got busy again with one of the 'museum exhibit' explanatory printouts - namely, a full list of the Gyldish rune set: This looks like the final version of the runic character set. Having spent several hours yesterday getting the engraved stones up onto the 6th floor of the art school for final display, arranging some pieces of paper for the exhibition ought to be comparatively simple.

 Friday afternoon, and I started to think ahead to the final public 'installation' concept - namely, one (or more, resources allowing) pieces of 'prehistoric wall art', most likely to be created here , at Auchmithie. I found some chunks of sandstone lying around the garden and ground them down. Research shows that a glutinous binding agent of some sort - like animal fat, egg white or some such, is what was probably used by actual prehistoric artists. I opted for water since it was readily available, and after scattering some of the finely-ground powder on a slab, was able to produce a decent-looking result using only a wet brush: In the right light (or with some subtle Photoshop manipulation) it could look pretty much like red ochre, the traditional medium of ancient artists. A trip to Arbroath in the coming days or weeks will be a nice break from stone grinding and donkey work.

 Today I managed to finish off the very tricky 'Gydena and Hrefni Cosmic Stone', which features the solar goddess and the raven storm-god standing on the two cosmic beasts who beget all the animal species in Gyldland cosmogony.  This was definitely the hardest one yet, given the relative size and the detail, and in the end I had to simplify a lot of it. It was also very hard to engrave as the surface wasn't smooth, but the shallowness of the line makes it look old and worn, which is helpful. I think this is the last one - five stones is probably enough unless I decide to render a fragment of something later on. I'll be on campus soon to look at the availability of glass-topped museum style display cases for the show, which will have to be discussed re: a) lighting conditions so the lights illuminate the engraved lines well enough but don't reflect off the top of the glass, and b) the ability of the case to support over 60kg of stone. So I may need two cases - or els

 Last night, I spent a few hours considering and writing up textual wall displays for the 'museum' exhibition, covering a healing charm and a bardic elegy which both feature in the poetic text, including some 'scholarship' regarding the text itself, and its 'translation' and interpretation. I'll continue work on these and get them printed up, along with colour matt prints of the 'land art' images. Today, taking advantage of the prevailing good weather, I got on with finishing off the four stone pieces which I've been working on this month so far. I added runic names to the 'lunar stone' (not very clear in the below image) and scrubbed and washed them all down, getting rid of the lingering dust which covers not only the stone surface but also clogs up the lines. The stone is so soft that even the toothbrush marks have begun to show up so I had to change to a small paintbrush to clean out the engraved lines. This leaves one stone left, the

  Having not been home the last couple of days, I needed to get back into some of the 'heavy' work and managed to bash out this rather 'primitive' and 'amateur' rendering of the main character of the epic poem - evidently carved by a friend or colleague of hers, whether a fellow member of Greyfair clan or even one of the other characters mentioned in the text. I used a much wider chisel (in truth a ground-down screwdriver) and hammer, eschewing fine lines and going straight for the memorialization aspect, whilst encapsulating the essence of the character. Rustic, basic but inherently honest in its intentions - perhaps the essence of 'folk art'. I like how the thick, simple lines are also suggestive of the English chalk hill figures: The Cerne Abbas Giant and the Wilmington Long Man - hill figures which have fascinated me for over 30 years This was my first attempt at writing actual Gyldish runes, namely her name and title: "Womba Wislig" (Womba

 This afternoon brought part 2 of the Mægtha/Hretha stone to completion - thickening the outline on Mægtha's sickle and carving Hretha in their entirety, with a bit more improvisation in the spiral design work, creating a bit more symmetry and balance within Hretha's body to mirror Mægtha's: Hretha still has something of a bovine look to their head, which I kind of like, as it suggests a particular breed of goat which is unknown in our world - hinting again at the idea of species extinction and 'lost times' and 'lost worlds' (rather than just slightly wonky art drawn without reference). Tomorrow I'll likely be busy with other things all day and I need a break from physical work anyway. That will give me time to reflect on this and figure out if there is any need for further design elements, or if it should just be left as is? The slab will sit outside to let the elements get rid of the dust and the freshly-engraved look for the next few weeks. It would b

   Continuing on from yesterday's post and thinking about land art and installing these images in landscape, yesterday evening I made an impromptu visit to one of the Carerthun hill forts near Edzell. I clambered up to the top of the White Caterthun with camera gear and the 7kg 'spear-maid' (stone #2) on my back - not an easy climb, but worth it for the view alone! The site has some personal significance as it was one of the main locations for my 2020 film 'The Wanderer and the Wish-maid' - itself based upon and inspired by the valkyrie figures of Norse mythology, forming a very tangible link from last year's undergrad work to this year's Master's work. The ready-made cairn was a gift for installing the stone - creating a natural axis point between sky and earth, the perfect embodiment for a character who inhabits that liminal space, whether as one who takes the spirits of the dead to the otherworld, or if the stone specifically represents Gerthild, Wo

 Another nice afternoon (at least meterologically) allowed me to get outside again and do more engraving - this time, tackling the 27kg slab of sandstone which will be the 'lunar stone', depicting the lunner goddess Mægtha and her hermaphrodite consort, Hretha. Mægtha is the goddess of the full moon while her pendant also depicts the lunar phases - crescents, gibbous and full. This was the first part of the work: And the point at which I left it, about an hour and a half later: Only the sickle remains to be outlined thicker, and then it'll just be a case of deepening the grooves and thoroughly washing it all so it doesn't look too fresh. I decided to improvise a bit by turning er right breast into a spiral to create a vertical sequence running down the body. The straight lines and the spiral motifs have just made me think of the work of Richard Long ( A Line Made by Walking ) and Robert Smithson's Spiral Jetty. The line/spiral designs look like they could be aids to

In Chapter XLII and XLIII, Womba and her small band encounter a giant sea-snake on their voyage to the Ylflands in a Homer-esque encounter, a meeting of bold voyagers versus grisly denizens of the deep. With characteristic gusto, the Ulfish warrior Ffreow throws himself into the fight and Womba bravely backs him up - only to be overcome by the beast's lethal venomous breath. So ends Chapter XLII. As XLIII begins, Womba awakens on the shore, 3 days after the events with the sea snake, finding herself stretched out on sunny sand and friends gathered around her. "Who heals the healers?" asks Gifli, as Womba is herself a renowned healer, and it seems Gifli is too, having patched up a battered Gerthild as well. As Womba gets her head straight, her memories return: while out cold, she had a dream. Or perhaps something more:  "...her dreams of torment, twisted thoughts, and scenes of terror filled her mind: a broken path, of blood and bones, and jagged upthrust rocks beneat

  This slab is one of the smaller ones - about 30cm wide by 40cm high, weight about 7 kg. I tested all the earmarked stones with my old luggage trolley and it (just) managed to transport them all (one at a time) to the car - good to know for when these finally have to get installed in less than 2 months. As the sandstone is not strong, dropping and knocking these finished works will have to be avoided at all costs. Following on from the earlier 'scratch' work, I spent several hours outside today finishing it off  (the design looks better in reality but I had to compensate for strong and very bright lighting conditions). The sandstone is soft enough that no actual chisel work was required - in fact that's convenient, as any hammer work tends to chip away from the determined groove, causing flaking and diminishing the design. The only tools used were a small awl, a toothbrush (for cleaning out the dust) and a steel ruler for defining the spear lines (plus, of course, a face m

 While I currently have about 80,000 words writen of the epic poem component of this project - what is in effect 'The Gyldland Saga' itself (though still a working title) - and most of the writing still to be done is linking material (followed by extensive editing), I'm certainly open to introducing new ideas, scenes, or themes if they are relevant and worthy. One such is the structure and nature of the Rockcats' divine lineage - the feline people from whom the heroine of the whole work originates. The idea was to create a heroic figure who had none of the qualities of traditional epic heroism - while wise with words and healing-craft, she is not strong, is middle-aged, overweight, non-human and non-male. She grows slowly and reluctantly into her destiny, as unlikely as it is. Her very name, 'Womba' - derived from the OE word for 'womb' - is, as various characters remind her, a misnomer, as she is past child-bearing age (which in certain systems of patri

 Following on from the abortive attempt at carving the spear-maid/Gerthild design in wood earlier this week, I decided to try it on one of the smaller slabs of sandstone instead. About an hour or so later, I had a rough, usable outline to follow and chisel out deeper: The main problem was getting the image transferred onto the stone. For the first effort , black carbon paper did the trick - but not here. I had to redraw from scratch the loose design, in a 4H pencil, then carefully gouge the line with a small sharpened bradawl. No actual chiselling involved as the lines are too fine and fragile. This will be a problem for the more complex designs, such as the double portrait of Hretha and Maegtha , so I'll need to plan well in advance. The relentless gouging work, whilst saving my joints from impact, will cause a different range of pains and issues to my working hand so I need to limit my time spent on this over the coming weekend. As well as, I assume, consider how much of this kin

 First tutorial today of the third and final semester in the approach to the resolution of this final project. Great to talk about my ideas so far and proposed developments, as well as a few off-the-cuff ideas, the type of which invariably pop into the head during such sessions. I'll start piecing together these ideas and possible inspirations soon, and spent the rest of the afternoon scrounging around the yard and adjoining field for likely pieces of sandstone for new stoneworking pieces. My attempts at wood-carving were non-starters and are not even worth sharing here, which is disappointing - but the stone-seeking was productive and I found a few good slabs (I'll worry about how to get them into the art school much nearer the time, but I do have a plan for that).   The largest slab (on the right) weighs in at 27kg - the one on the left is about 22. Whilst thinking about what will be (tomorrow I'll start measuring up some of the other designs and get them traced on to the

  The Ylfu – the ‘elves’ of my world – whilst ensconced in their mighty subterranean barrow beneath their ancient city Dofran (the OE name for Dover, complete with ‘steadfast white sea-walls’), are more precisely informed by Welsh culture, especially the bardic tradition, which underlines the poetry recited in the court of Yldfreah (the name which our narrator gives to the Ylf-lord – his name literally ‘Old lord’, which is more of a title really – cf. the Old Norse fertility god, Freyr, and probably one given to him by the narrator as a reference to his own linguistic culture). Hence the very Welsh-derived lament which the Ylfish bard Meloth sings in honour of the leader of Gifli’s expedition: 'The Song of Haeleth of the Dawn’s-Light' ‘Seven we were, and seven we fell, seven in strength, by honour bound now none but names, now none remain, to light the lands of multitudes. For while we stood, we held our ground and seven by seven foes in rage could not bear battle at our shield