Announcing fall tour dates and new single ep!
August 18, 2008
Cover art by David Stith
Release date: iTunes exclusive- September 23, 2008
While Shara Worden of My Brightest Diamond retains a French vocabulary more comparable to that of an African Grey Parrot than to Victor Hugo, she does love to sing French songs from the 1930s. Borrowed melodies from Worden’s favorite French sparrow, the inimitable Edith Piaf, “Adieu mon Coeur,” and “Hymne A L’Amour” have become standard concert repertoire for My Brightest Diamond in recent years.
After having fled Germany to escape the Nazi’s in 1933, composer Kurt Weill penned the music for “Youkali:Tango Habenera”. Years later, Roger Fernay added lyrics describing a vagabond trip to an island of bliss called Youkali, whereupon landing a fairy would act as one’s personal tour guide. Youkali is a land of happiness and fulfilled desire, a place where all the stars shine brighter. But the dreamy mists dissipate in the second verse, as life progresses tediously while poor human souls seek to escape to the mysterious utopia in vain.
With the help of co-producer / ear candy man Zac Rae, a longstanding Diamond collaborator, these recordings take new flight with his host of reversed pianos, paint can snares, and warbling theramins.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^
1. From the Top of the World
2. Youkali: Tango Habanera
3. Hymne Á L’Amour
4. Adieu Mon Coeur
This digital-only release will be not so digital when My Brightest Diamond takes to the air in September from Brooklyn and only hours later lands in Europe. She’ll be no doubt playing these songs, as well as selections from Sharks Teeth, when she passes through the UK, Germany, Austria, Switzerland, Belgium, Holland, and France. Set to play in string trio formation, the Diamond has magic magic magic in store, as well as a delightful double bill with friend, local Brooklyn conspirator and french speaker Clare & The Reasons! More European dates are being added daily- oh and yes, we’ll announce the US tour soon too!
| Saturday 2008-08-23 |
Dennis, MA - Cape Cinema |
| Friday 2008-09-05 |
Storrs, CT - Von der Mehden Recital Hall |
| Monday 2008-09-15 |
London - UK - Soho Theatre |
| Tuesday 2008-09-16 |
Brighton - UK - Komedia Studio |
| Thursday 2008-09-18 |
Manchester - UK - Trinity Church |
| Sunday 2008-09-21 |
Amsterdam - Holland - Melkweg ( Old Room) |
| Monday 2008-09-22 |
Hamburg - Germany - Motolow |
| Tuesday 2008-09-23 |
Berlin - Germany - Lido |
| Wednesday 2008-09-24 |
Schornodorf - Germany - Manufaktur |
| Friday 2008-09-26 |
Vienna - Austria - B72 |
| Sunday 2008-09-28 |
Zurich - Switzerland - Rote Fabrik |
| Monday 2008-09-29 |
Milan - Italy - MusicDrome |
| Wednesday 2008-10-01 |
Brussells - Belgium - Botanique |
| Friday 2008-10-03 |
Diksmuide - Belgium - 4AD |
| Saturday 2008-10-04 |
Groningen - Holland - Groningen Take Root Festival |
| Sunday 2008-10-05 |
Nijmegen - Holland - Doornroosje |
| Monday 2008-10-06 |
Tourcoing - France - le Grand Mix |
| Tuesday 2008-10-07 |
Paris - France - Cigale |
| Wednesday 2008-10-08 |
Strasbourg - France - Laiterie Club |
| Friday 2008-10-10 |
Evreux - France - Abordage Club |
| Saturday 2008-10-11 |
Le Havre - France - Cabaret Electric |
For show details please hop to the tour dates!
100 months to save the world
August 5, 2008
The final countdown
Time is fast running out to stop irreversible climate change, a group of global warming experts warns today. We have only 100 months to avoid disaster. Andrew Simms explains why we must act now - and where to begin
- The Guardian,
- Friday August 1 2008
- Article history
Planet earth viewed from space. Photograph: Corbis
If you shout “fire” in a crowded theatre, when there is none, you understand that you might be arrested for irresponsible behaviour and breach of the peace. But from today, I smell smoke, I see flames and I think it is time to shout. I don’t want you to panic, but I do think it would be a good idea to form an orderly queue to leave the building.
Because in just 100 months’ time, if we are lucky, and based on a quite conservative estimate, we could reach a tipping point for the beginnings of runaway climate change. That said, among people working on global warming, there are countless models, scenarios, and different iterations of all those models and scenarios. So, let us be clear from the outset about exactly what we mean.
The concentration of carbon dioxide (CO2) in the atmosphere today, the most prevalent greenhouse gas, is the highest it has been for the past 650,000 years. In the space of just 250 years, as a result of the coal-fired Industrial Revolution, and changes to land use such as the growth of cities and the felling of forests, we have released, cumulatively, more than 1,800bn tonnes of CO2 into the atmosphere. Currently, approximately 1,000 tonnes of CO2 are released into the Earth’s atmosphere every second, due to human activity. Greenhouse gases trap incoming solar radiation, warming the atmosphere. When these gases accumulate beyond a certain level - often termed a “tipping point” - global warming will accelerate, potentially beyond control.
Faced with circumstances that clearly threaten human civilisation, scientists at least have the sense of humour to term what drives this process as “positive feedback”. But if translated into an office workplace environment, it’s the sort of “positive feedback” from a manager that would run along the lines of: “You’re fired, you were rubbish anyway, you have no future, your home has been demolished and I’ve killed your dog.”
In climate change, a number of feedback loops amplify warming through physical processes that are either triggered by the initial warming itself, or the increase in greenhouse gases. One example is the melting of ice sheets. The loss of ice cover reduces the ability of the Earth’s surface to reflect heat and, by revealing darker surfaces, increases the amount of heat absorbed. Other dynamics include the decreasing ability of oceans to absorb CO2 due to higher wind strengths linked to climate change. This has already been observed in the Southern Ocean and North Atlantic, increasing the amount of CO2 in the atmosphere, and adding to climate change.
Because of such self-reinforcing positive feedbacks (which, because of the accidental humour of science, we must remind ourselves are, in fact, negative), once a critical greenhouse concentration threshold is passed, global warming will continue even if we stop releasing additional greenhouse gases into the atmosphere. If that happens, the Earth’s climate will shift into another, more volatile state, with different ocean circulation, wind and rainfall patterns. The implications of which, according to a growing litany of research, are potentially catastrophic for life on Earth. Such a change in the state of the climate system is often referred to as irreversible climate change.
So, how exactly do we arrive at the ticking clock of 100 months? It’s possible to estimate the length of time it will take to reach a tipping point. To do so you combine current greenhouse gas concentrations with the best estimates for the rates at which emissions are growing, the maximum concentration of greenhouse gases allowable to forestall potentially irreversible changes to the climate system, and the effect of those environmental feedbacks. We followed the latest data and trends for carbon dioxide, then made allowances for all human interferences that influence temperatures, both those with warming and cooling effects. We followed the judgments of the mainstream climate science community, represented by the Intergovernmental Panel on Climate Change (IPCC), on what it will take to retain a good chance of not crossing the critical threshold of the Earth’s average surface temperature rising by 2C above pre-industrial levels. We were cautious in several ways, optimistic even, and perhaps too much so. A rise of 2C may mask big problems that begin at a lower level of warming. For example, collapse of the Greenland ice sheet is more than likely to be triggered by a local warming of 2.7C, which could correspond to a global mean temperature increase of 2C or less. The disintegration of the Greenland ice sheet could correspond to a sea-level rise of up to 7 metres.
In arriving at our timescale, we also used the lower end of threats in assessing the impact of vanishing ice cover and other carbon-cycle feedbacks (those wanting more can download a note on method from onehundredmonths.org). But the result is worrying enough.
We found that, given all of the above, 100 months from today we will reach a concentration of greenhouse gases at which it is no longer “likely” that we will stay below the 2C temperature rise threshold. “Likely” in this context refers to the definition of risk used by the IPCC. But, even just before that point, there is still a one third chance of crossing the line.
Today is just another Friday in August. Drowsy and close. Office workers’ minds are fixed on the weekend, clock-watching, waiting perhaps for a holiday if your finances have escaped the credit crunch and rising food and fuel prices. In the evening, trains will be littered with abandoned newspaper sports pages, all pretending interest in the football transfers. For once it seems justified to repeat TS Eliot’s famous lines: “This is the way the world ends/Not with a bang but a whimper.”
But does it have to be this way? Must we curdle in our complacency and allow our cynicism about politicians to give them an easy ride as they fail to act in our, the national and the planet’s best interest? There is now a different clock to watch than the one on the office wall. Contrary to being a counsel of despair, it tells us that everything we do from now matters. And, possibly more so than at any other time in recent history.
It tells us, for example, that only a government that was sleepwalking or in a chemically induced coma would countenance building a third runway at Heathrow, or a new generation of coal-fired power stations such as the proposed new plant at Kingsnorth in Kent. Infrastructure that is fossil-fuel-dependent locks in patterns of future greenhouse gas emissions, radically reducing our ability to make the short- to medium-term cuts that are necessary.
Deflecting blame and responsibility is a great skill of officialdom. The most common strategies used by government recently have been wringing their hands and blaming China’s rising emissions, and telling individuals to, well, be a bit more careful. On the first get-out, it is delusory to think that countries such as China, India and Brazil will fundamentally change until wealthy countries such as Britain take a lead. And it is wildly unrealistic to think that individuals alone can effect a comprehensive re-engineering of the nation’s fossil-fuel-dependent energy, food and transport systems. The government must lead.
In their inability to take action commensurate with the scale and timeframe of the climate problem, the government is mocked both by Britain’s own history, and by countries much smaller, poorer and more economically isolated than we are.
The challenge is rapid transition of the economy in order to live within our environmental means, while preserving and enhancing our general wellbeing. In some important ways, we’ve been here before, and can learn lessons from history. Under different circumstances, Britain achieved astonishing things while preparing for, fighting and recovering from the second world war. In the six years between 1938 and 1944, the economy was re-engineered and there were dramatic cuts in resource use and household consumption. These coincided with rising life expectancy and falling infant mortality. We consumed less of almost everything, but ate more healthily and used our disposable income on what, today, we might call “low-carbon good times”.
A National Savings Movement held marches, processions and displays in every city, town and village in the country. There were campaigns to Holiday at Home and endless festivities such as dances, concerts, boxing displays, swimming galas, and open-air theatre - all organised by local authorities with the express purpose of saving fuel by discouraging unnecessary travel. To lead by example, very public energy restrictions were introduced in government and local authority buildings, shops and railway stations. This was so successful that the results beat cuts previously planned in an over-complex rationing scheme. The public largely assented to measures to curb consumption because they understood that they were to ensure “the fairest possible distribution of the necessities and comforts of daily life”.
Now, 2008, we face the fallout from the credit crisis, high oil and rising food prices, and the massive added challenge of having to avert climate change.
Does a war comparison sound dramatic? In April 2007, Margaret Beckett, then foreign secretary, gave a largely overlooked lecture called Climate Change: The Gathering Storm. “It was a time when Churchill, perceiving the dangers that lay ahead, struggled to mobilise the political will and industrial energy of the British Empire to meet those dangers. He did so often in the face of strong opposition,” she said. “Climate change is the gathering storm of our generation. And the implications - should we fail to act - could be no less dire: and perhaps even more so.”
In terms of what is possible in times of economic stress and isolation, Cuba provides an even more embarrassing example to show up our national tardiness. In a single year in 2006 Cuba rolled-out a nationwide scheme replacing inefficient incandescent lightbulbs with low-energy alternatives. Prior to that, at the end of the cold war, after losing access to cheap Soviet oil, it switched over to growing most of its food for domestic consumption on small scale, often urban plots, using mostly low-fossil-fuel organic techniques. Half the food consumed in the capital, Havana, was grown in the city’s own gardens. Cuba echoed and surpassed what America achieved in its push for “Victory Gardening” during the second world war. Back then, led by Eleanor Roosevelt, between 30-40% of vegetables for domestic consumption were produced by the Victory Gardening movement.
So what can our own government do to turn things around today? Over the next 100 months, they could launch a Green New Deal, taking inspiration from President Roosevelt’s famous 100-day programme implementing his New Deal in the face of the dust bowls and depression. Last week, a group of finance, energy and environmental specialists produced just such a plan.
Addressed at the triple crunch of the credit crisis, high oil prices and global warming, the plan is to rein in reckless financial institutions and use a range of fiscal tools, new measures and reforms to the tax system, such as a windfall tax on oil companies. The resources raised can then be invested in a massive environmental transformation programme that could insulate the economy from recession, create countless new jobs and allow Britain to play its part in meeting the climate challenge.
Goodbye new airport runways, goodbye new coal-fired power stations. Next, as a precursor to enabling and building more sustainable systems for transport, energy, food and overhauling the nation’s building stock, the government needs to brace itself to tackle the City. Currently, financial institutions are giving us the worst of all worlds. We have woken to find the foundations of our economy made up of unstable, exotic financial instruments. At the same time, and perversely, as awareness of climate change goes up, ever more money pours through the City into the oil companies. These companies list their fossil-fuel reserves as “proven” or “probable”. A new category of “unburnable” should be introduced, to fundamentally change the balance of power in the City. Instead of using vast sums of public money to bail out banks because they are considered “too big to fail”, they should be reduced in size until they are small enough to fail without hurting anyone. It is only a climate system capable of supporting human civilisation that is too big to fail.
Oil companies made profits when oil was $10 a barrel. With the price now wobbling around $130, there is a huge amount of unearned profit waiting for a windfall tax. Money raised - in this way and through other changes in taxation, new priorities for pension funds and innovatory types of bonds - would go towards a long-overdue massive decarbonisation of our energy system. Decentralisation, renewables, efficiency, conservation and demand management will all play a part.
Next comes a rolling programme to overhaul the nation’s heat-leaking building stock. This will have the benefit of massively cutting emissions and at the same time tackling the sore of fuel poverty by creating better insulated and designed homes. A transition from “one person, one car” on the roads, to a variety of clean reliable forms of public transport should be visible by the middle of our 100 months. Similarly, weaning agriculture off fossil-fuel dependency will be a phased process.
The end result will be real international leadership, removing the excuses of other nations not to act. But it will also leave the people of Britain more secure in terms of the food and energy supplies, and with a more resilient economy capable of weathering whatever economic and environmental shocks the world has to throw at us. Each of these challenges will draw on things that we already know how to do, but have missed the political will for.
So, there, I have said “Fire”, and pointed to the nearest emergency exit. Now it is time for the government to lead, and do its best to make sure that neither a bang, nor a whimper ends the show.
· Andrew Simms is policy director and head of the climate change programme at NEF (the new economics foundation). The material on climate models for this article was prepared by Dr Victoria Johnson, researcher at NEF on climate change. For regular suggestions for what individuals and groups can do to take action, and links to a wide range of organisations supporting the focus on the 100 months countdown, go to: onehundredmonths.org. The Green New Deal can be downloaded at neweconomics.org
Yo yo check my new Ring Tones!
July 25, 2008
That’s right. MBD has got ring tones. We aren’t ashamed. Call me up. Dial me. Ring-a-ling. Jang-a-lang. Who is this? Yo, it’s me! MBD! We are featuring the hot jams: Inside a Boy, From the Top of the World and my personal favorite, The Music Box (from the Shark Demos). I especially like the music box one, because the Tibetan singing bowl has a nice ring (tone). Tony Tony Tone. Rings with a tone. Tones that ring. I am the bling a ling.
a few recipes & a cool tote
July 23, 2008
Asthmatic Kitty Grocery Tote Bag
By Laura Park
(Modeled at Goose the Market, Indianapolis)
Designed by Chicago illustrator Laura Park exclusively for Asthmatic Kitty, these durable and beautiful grocery bags are high quality, 100% organic cotton, large enough to haul as many veggies and yummy goods as you’d need for the perfect dinner.
And for a limited time (while supplies last!), AK is stuffing this bag with two helpful recipe zines, printed on 100% recycled paper.
The first is an 11 page vegan zine from Adam Gnade, friend of Asthmatic Kitty, recent author of Hymn California, and storyteller.
The second 8 page zine gathers recipes from our friends and roster, including My Brightest Diamond (I included the jello salads we used to have every summer at my grandmother’s farm in Kansas… mmm mmm!), the Schlarbs, Chris Eley of Indianapolis’ Goose the Market, David Sankey, Sara Billups, Jonathon Dueck, and of course Laura Park.
Asthmatic Kitty photocopied, but Laura carefully handwrote and illustrated every recipe! No fonts here!
Fabric: 100% Organic Cotton 3/1 twill; 8 oz/yd2 (272gsm).
Size: 11.5” long x 14.5” tall x 5” wide
For more info or to purchase go to ASTHMATIC KITTY’S POST HERE
Les Inrocks Feature
July 11, 2008
MBD have the pleasure of being featured on the front page of the Les Inrocks website at the moment. A review of A Thousand Shark’s Teeth has been posted, together with a couple video clips of Shara performing with a ukelele in a sea of balloons! You can jump directly to the MBD page here.

Puppets and the legendary Baby Dee on June 29th
June 25, 2008
Post cd release show, I thought I’d see something light & playful in order to help me unwind and start to enjoy this summer. So errr, um… I chose to see something with murder, something with revenge, something pondering life and death and to bee-ing. Yep, it was Hamlet in Central Park and it was fantastic! Before the show, I bumped into the beautiful songwriter Baby Dee and we had a nice chat. THEN, the incredible Erin Orr was a puppeteer in the show- the play within the play was done with massive marionettes. Today Erin just sent along this email and I must pass it along. I highly highly recommend this, because it is guaranteed to be beautiful and it’s free!!
“I am pleased to announce the return of “Its a Bee, Honey!”, a musical puppet circus for all ages based on the real life drama of honey bees.
I will be joined by the legendary composer Baby Dee and her accordian, harp and giant tricycle, the amazing and beautiful Rima Fand as the violin playing princess bee, the multi-talented Silvi Wool who will astound you with her spinning poi ball bee wings and a chorus of children (with puppets that they made themselves) as the worker bees. There will also be large bee puppets and a puppet theater made from a real bee hive. ITS FREE AND ITS REALLY GOOD!
June 29th at 3PM
The Abrons Arts Center at Henry Street Settlement (in the scuplture garden) 466 grand street
BUT WAIT! THERE IS MORE! I am also offering a free puppet making workshop at Henry Street on June 28th for children and their adults from 10-12. The kids will make worker bee puppets and be invited to be a part of the show the next day (there is a rehearsal at 1:30 on Sunday)..
for directions visit www.abronsartscenter.org or call 212-589-0400″
If you don’t happen to bee in New York, and do happen to bee in Evreux, France, then pop by the festival on the 27th and we shall dance together.
XXXooo
Other Music In-Store
June 19, 2008
We had the pleasure of doing an intimate in-store performance at Other Music in Manhattan a few days before the release of A Thousand Shark’s Teeth. DigForFire.tv have produced and edited together a beautiful video of the evening. Check it out:
Furthermore, if you order A Thousand Shark’s Teeth through their website, they’ll throw in a couple of mp3s of the performance for free :)!
CD release details & an interview with Shara & puppeteer Lake Simons
June 10, 2008
Last year, URB magazine ran a special issue on relationships between women artists. Shara chose to invite puppeteer Lake Simons! For those of you who either haven’t seen this article, or are trying to get in the Pierrot Punk mood for the June 17th CD release Eeeeeextravaganza next week, this article might be of interest. At the Blender Theater on Tuesday, Lake will perform with puppets to the delightful sounds of songwriter/composer John Dyer, as well as an opening act by circus composer Sxip Shirey. There will be face painting, party hats and hip swaying. Wear black and white and we will pretend we are all punk kids who were transported by a magic spaceship back to France in 1911! The band will be falling off the stage. MBD doesn’t have a formation name for this! Maybe it’s just Extravaganza formation! We’ve got so many instruments and fantabulous players galore: marimba and vibes player (can you say vibe-ist?) - Thom Kozumplik, drummer - Brian Wolfe, bassist - Nathan Lithgow, string quartet - Osso (Rob Moose, Olivier Manchon, Marla Hansen & Maria Jeffers), french horn player - Michael Atkinson, bassoonist - Sara Schoenbeck and guitarist/clarinetist - Sebastian Krueger. Aw yeah! 

Other Music in-store performance tonight
June 9, 2008
We are playing an in-store tonight at Other Music. MBD will be in string quartet formation at 8:30 pm. 15 East 4th St. East Village.
We are wearing orange polkadots, ruffles, and cradled bird headbands. I made a new ribbon collagey thing that sits on my right shoulder. It does not interfere with my guitar playing. I think it ties all the outfits together.
Tee Shirt Decision, where all ladders lead & Anselm Kiefer
June 3, 2008
The verdict is in! The jury has decided! The controversy was enormous! The people have spoken! The race was won! The photoshop document has been turned into the tee shirt printers! While it was a very very close call, after tallying all the comments and considering the votes from abroad (the friends I pestered via email) Cluster Ladder Two has come out on top! Web 2.0 rules. My favorite was one that nobody picked at all and if I would not have had YOUR input I would have lost jillions of dollars in tee shirt printing costs and had to get a larger storage unit. Thank you for saving me from that fate.
THE LADDER: All ladders lead up and down at the same time. They are the means of moving somewhere otherwise unreachable. An in-between place. They are places of observation. They can be dangerous. They can be unlucky. Some ladders are made of metal, some of plastic, some of wood and some of rope. Some make up the substance of album covers. One must be active to climb a ladder. New spaces are not reached by passivity. We have sought to be free of gravity, free from the ground (except for Richard Serra who seems quite happy examining the subject of weight). Some want to reach the heavens, the stars, the air, the outer folds of our universe. Throughout art history ladders have often symbolized a means of reaching transcendence. We long to be elevated. We long to enter the deep. We long for a different perspective.
Interview with Michael Auping and Anselm Kiefer: October 5, 2004 Barjac
MA: Titling an exhibition Heaven and Earth, as we have done here, requires little explanation. Perhaps we should just begin with the very simple question, do you believe in heaven?
AK: The title Heaven and Earth is a paradox because heaven and earth don’t exist anymore. The earth is round. The cosmos has no up and down. It is moving constantly. We can no longer fix the stars to create an ideal place. This is our dilemma.
MA: And yet we keep trying to find new ways to get to “the ideal place,” the place we assume we came from — to find the right direction.
AK: It is natural to search for our beginnings, but not to assume it has one direction. We live in a scientific future that early philosophers and alchemists could not foresee, but they understood very fundamental relationships between heaven and earth that we have forgotten. In the Sefer Hechaloth, the ancient book that came before the kabbala, there is no worry of directions. It describes stages, metaphors, and symbols that float everywhere. Up and down were the same direction. The Hechaloth is the spiritual journey toward perfect cognition. North, south, east, and west, up and down are not issues. For me, this also relates to time. Past, present, and future are essentially the same direction. It is about finding symbols that move in all directions.
MA: Our religions all have heaven.
AK: We can’t escape religion, but there is a difference between religion and heaven, and one doesn’t necessarily lead to the other.
MA: You have made reference to Speer’s buildings in a number of your works. Does Speer represent something specific for you?
AK: Speer’s architecture is interesting, but because of his connection to the Nazis he was not being discussed at the time I was using his images. There are many artists who run into trouble on their way to paradise, philosophers also: Marx, Hegel, Mao, Wagner. They have all looked for ways to find their place, their salvation, through philosophy, art, or religion.
MA: Could we go back and talk a little bit more about your education as an artist? You went to university in Freiburg.
AK: Yes. But first I had the nineteenth-century idea that the artist is a genius– that art comes out of him naturally and he doesn’t need any education. I had always thought this, even as a child. You could say that I had too much admiration for artists. I thought they came from heaven. Later I found out that artwork is only partly done by the artist, that the artist is part of a larger state of things– the public, history, memory, personal history– and he must just work to find a way through it all, to remain free but connected at the same time. Peter Dreher, and artist and professor at Freiburg, was very important for me in this way. I had come from law school and was trying to figure out the rules of this new world of art. Peter Dreher opened me to the freedom of thhis new world, to the milieu of the artist, and how to operate within this freedom. If you are a genius, you don’t need a milieu. So I figured out that maybe I wasn’t a genius. He said to me, “Do what you want.” And then we could talk about it later. He helped me to understand that first you have to work and then you can talk.
MA: In his interviews and writings, Beuys often evoked the word “spiritual.” How do you think he meant that?
AK: That is complicated. We were both in Germany at a certain time– a time when a dialogue about history and spirituality needed to begin. It was difficult to separate the two subjects. There was a sense of starting over. To evoke the spiritual not only looking at ourselves but into the history of our nation. It was not just a matter of critique. It had to be deeper than that. So yes, Beuys was a spiritual man. The artist is naturally spiritual because he is always searching for new beginnings.
MA: Your use of the artist’s palette image in many of your works seems to suggest various roles for the artist, not always spiritual in his effect.
AK: The palette represents the idea of the artist connecting heaven and earth. He works here but he looks up there. He is always moving between the two realms. The artists are like the shamans, who when they were meditating would sit in a tree in order to suspend themselves between heaven and earth. The palette can transform reality by suggesting new visions. Or you could say that the visionary experience finds its way to the material world through the palette.
MA: Sometimes your palettes are on the ground, a part of the earth, which is constantly referred to in your work, as a painted image or the material ground for painting.
AK: All stories of heaven begin on earth.
MA: In a number of works you have referred to The Hierarchy of the Angels, and the concept of a celestial hierarchy. Is there a hierarchy to your symbols and the materials you use when you refer to this idea?
AK: No. There is no strict hierarchy to my images. They seem to be always evolving from one from or condition to another. This relates to the thinking of the Greek saint Dionysius the Areopagite. Do you know about the ideas attributed to him?
MA: The idea that heaven is organized in orders of different forms of angels?
AK: Yes– angels, archangels, seraphim, cherubim. More important was the concept that the spiritual realm is a spiral going up and down. So the spiritual realm is moving and twisting. This is important to the way I organize my pictures. I work with the concept that nothing is fixed in place and that symbols move in all directions. They change hierarchies depending on the context.
MA: An airplane propeller could be an angel or the spiral universe itself.
AK: Yes. And of course flying machines have played important roles in history, representing ambitions of transcendence or military power, from Icarus to moon rockets.
MA: I was also thinking about the different levels of spheres and subspheres in the kabbala that deal with the evolution or hierarchies between matter and spirit, and how that might relate to your use of materials. Your studios are warehouses of everything from dead plants and human teeth to sprawling stacks of lead. Are you suggesting a kind of symbolic ladder through your materials?
AK: Not that directly. I collect all of these things as I read and they find their way into my reconstructed stories, but I usually become attached to materials that have more than one side to their meaning. So they can be used to go up and down the ladder. Lead is a very good example. . . The large sheets of lead that support the 20 Years of Solitude books are from the roof of a cathedral. . . Lead can transform itself in all directions.
MA: I’ve also noticed that many of your paintings can be turned upside down and still carry their message, as if the heaven and the earth just switch identities. It seems to me the orientation is only fixed when you write on the canvas.
AK: I work on my paintings from all sides, so when I am working on them there is no up or down. The sky can be reflected in the water or material can come down from the sky. That is part of the content of the paintings. Heaven and earth are interchangeable. The writing is an attempt to fix a moment or a place, to suggest a fixed state, but the imagery denies. It is active.
MA: Like the stars, galaxies, and constellations you have been referring to — the Astral Serpent or the Milky Way.
AK: The title or language on my paintings is a starting point. The images should expand the meaning of the words. In Die Milchstrasse, I thought of the large cut in the land as a puddle of water. Then the clouds are reflected on its surface, it looks like milk. A puddle is a very simple thing, but it has the ability to reflect into something much larger. It could be the Pacific Ocean.
MA: On this canvas it look monumental, but it also looks like a wound in the belly of the earth.
AK: Yes. It could be. When you dig into the ground, you may find something– water, a buried meteorite, a piece of heaven. These kinds of pictures are always operating between the macrocosmic and the microcosmic. The lead strings reach to the sky and then converge down into the funnel, which dips into the puddle. the Milky Way, which has been observed for millenniums as a great and expansive constellation, is really a small thing in the cosmos. it is like a puddle in the cosmos. Establishing a heaven and earth is a way to try to orient ourselves, but cosmic space does not understand this. It is all relative. What is big can in fact be very small. What is up can be down.
MA: Recently you have made immense books the size of a human body that you can almost walk into, with the pages covered with stars. But you have given the stars numbers and connected them with lines. These star drawings have also appeared in huge paintings that include observatories and what look like navigation instruments.
AK: They are numbers given to stars by NASA scientists. Each number in the string of numbers indicates the distance, the color, the size, etc. This is the scientific heaven. But of course it is all illusion. All of the constellations are illusions or ghosts. They do not exist. The light we see today was emitted millions, billions of years ago and of course their source was constantly changing, moving, and dying. These lights we see, this heaven has nothing to do with our current reality. We are afraid, so we have to make sense of the world. We cannot stand not to have a heaven in our minds. If there really was a heaven, it would exist outside of science or religion. I am speaking of religions, with the plural; not just a religion.
MA: So the scientists are making up their own dome of heaven.
AK: Of course. They want to find heaven too, but their stars are always moving, always dying, and some breaking off, making new stars. Scientists are a little bit like artists. Their stars are like pieces of memory that find their way into a painting. You pull them out and stop them for a moment in the painting. It is stopped only for the instant you recognize it and then you change position and you see something else, another relationship in the image, but again, only for an instant. There are only glimpses.



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