I liked the connection that emerged between the Persian vision of paradise and my work, but there was another aspect that I wanted to bring into the work, namely our almost primeval attachment to such objects and the way they reverberate with us. This reminded me of a visit I had made to an exhibition showing religious voodoo sculptures. Being interested in the relationship and the obsessiveness that we as humans in different cultures and in different ways form with our objects or collections, I took the exhibition as an inspiration. In some sense voodoo is the “most current” religion, not only because it has no dogmas or writings and through slavery absorbed elements from other religions, but also because it avails itself of the objects by which we are intimately surrounded.
Visiting the exhibition I was told that the practice of voodoo involves types of meta-figures, through which the spirits and gods can be communicated with.
Vodun believers make these sculptures themselves out of objects to which they attribute powers. Often these are everyday items like string or cloth, but also things that are, when considered, indeed powerful elements of our times such as cola bottles or cigarette packs.
In any event I wanted to introduce something obsessive and mystical and an element of superstition into my work, and decided – using earthenware-casting compound, string and paper – to produce my own meta-sculptures using the ceramic objects in the tapestry.
Most of the voodoo sculptures I researched have protective functions, therefore over a period of months I wrote down minor incidents and characteristics that worried me and used them tongue-in-cheek as a title.