MYTHMAKERS is a series of sculptures that explore the interconnected threads of spiritual ecology, seeking a new, earthbound spirituality. These works move beyond fixed rituals, offering space for fluid, emerging practices that embrace the unknown and the yet-to-be-imagined. They reclaim the right to shape spirituality anew, free from rigid traditions, and celebrate the interwoven dance of all living beings.
These sculptures are more than objects; they are vessels of possibility, inspired by Anna Tsing’s reflections on invisible presences and the narratives of Arts of Living on a Damaged Planet. They challenge entrenched spiritual frameworks, creating openings where new myths can take root and flourish.
Each vessel invites participation: a call to inhabit and co-create spiritual forms grounded in ecological awareness. These works foster a deep connection to the living world and inspire practices that nurture the intricate fabric of life. They are spaces of potential, resonating with the enduring creativity of a planet in renewal.
A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder- A reciptient. (from “ the carrier bag Theorie of fiction. By Ursula K. Le Guin with an Introduction by Donna Haraway)
Vessels, both literal and metaphorical, are central to the origins of human development, as seen through the lens of Ursula K. Le Guin's work. In her writings, Le Guin often explores the notion of the body and the land as containers for life, identity, and culture. She suggests that human existence is shaped by the ways in which individuals and communities navigate the boundaries of these vessels—whether they be the physical body, the societal structures, or the earth itself. In The Dispossessed, for example, Le Guin contrasts two societies, one based on accumulation and ownership, the other on communal living, reflecting how different conceptions of vessels (be it land, property, or the human form) influence human development. The act of giving and receiving, of holding and being held, emerges as a fundamental practice of human existence, a theme that is explored in works like The Left Hand of Darkness, where the fluidity of gender and the physicality of human experience become vessels for understanding the larger forces of cooperation, survival, and empathy. Le Guin’s reflections on the interconnectedness of humanity and the earth suggest that the origin of human development lies in our relationship to these vessels, as sites of transformation and mutual care.
In Mythmakers, the concept of vessels, as explored in Ursula K. Le Guin’s work, serves as a foundation for reshaping how we approach storytelling and spirituality. Just as Le Guin redefines boundaries in her speculative worlds, Mythmakers uses shape alterations to challenge traditional narratives and create new forms of mythmaking. By transforming physical shapes, the project reimagines the body and space as dynamic vessels for storytelling, emphasizing fluidity, interconnectedness, and transformation. This contemporary approach to worldbuilding invites a shift in how we conceive of spirituality, moving beyond static representations towards more embodied and evolving expressions of the sacred. Mythmakers becomes a vessel itself, offering new pathways for myth and meaning to emerge in a changing world.
