Between writing CHRISTOPHER WILD and working on nerve‘s summer Bosch commission, it could seem like the past is my creative landscape now: the medieval wonders and beauties of that “Garden,” and the dark and subtle, sometimes terrible, world of the Elizabethans.
But the past is always present.
We use and refine technology to remake our physical world, for good and ill, but the basic societal mechanism is the same: humans hunger and lust and work and weep and lie. Strive, feast, ruin ourselves, seek to transcend our bodies, to sate or tame our minds, we are what we are, this never changes.
Artists – Marlowe, Bosch, Rachael Harbert and Marianne Brass, me – take that human condition as our matériel and make of it whatever our disciplines and talents suggest. For Harbert and Brass, it will move. For Bosch it will wear a myriad of faces. For Marlowe and for me, it will speak. And when it does, and when what we make is remade by one who watches and who hears, it will be present in the world anew, it will be the present, alive again and again.
[Photo of Marianne Brass and Rachael Harbert courtesy Rena Hopkins.]