Agnes Arellano Sculptor

Myths of Creation and Destruction Part I


The female figure is a cast of my body, done in 1987 and exhibited as Carcass-Cornucopia. She was hooved, hung upside down with slaughterhouse hooks, and through the gaping hole of her slashed abdomen, the Serpent and bounty of the Universe split forth. Inside was the Lordling Bulol: from destruction comes new life.

(...) a long box, inspired by the Zen temple gardens of Kyoto, is filled with coarse sand and raked with three precisely parallel lines. These lines, together with the edges of the box, become the five lines and four spaces of a musical staff, and play host to a succession of male skulls. These skulls become the musical notes, and have the marks for sharp or flat in the center of their foreheads. A sound sculpture accompanies the piece, and is an integral part to it. It was composed on the basis of the initial placement of the skulls, arranged from a purely visual perspective, and its music rises to a crescendo, with the chanting of male voices, just before an audible sigh of relief, as the sun rises.