The Curiosity of the Object: observation creation annihilation: With a Number of Choices

The word "totem" evolves from the Ojibwa Indian (from the north-central west coast of North America) word "ototeman" meaning a personal, family, or clan symbol, and is typically a plant or animal. The particular totemic object embodies a force or power that moves in both the physical and spiritual worlds; it is also a spiritual essence relating to the ancestral tradition of the group or individual. The Totem could be said to be an equivalent of the Greek Orthodox ikon.

The systems of spiritual belief and ritual behind the Ikon and the Totem stress that it is not the Object that is to be worshipped, but what the Object symbolizes. The object acts as a temporal focus for worship. That is, the act of worship and meditation is stimulated and deepened through the symbolic mediation of the iconic totem.

The objects introduced in this public exhibition have their roots in both of these culturally diverse traditions in form and purpose, although essence is communicated through the distinctive syntax of the photographic medium. The description of the work as "teikn í ljósmynd" (lit. marks-of-Light images) illustrates the importance of the iconic sign, symbol, or mark in the process of of ritual communication. The modern photograph is a powerful tool for the creation of iconic imagery -- (i.e., advertising imagery: propaganda, indoctrination, information). While the still photograph is no longer at the apex of imaging technology, having been largely replaced by the video and computer image, it is probably the most common medium of visual communication and language. The photographic medium can be compared to linguistic forms of communication in many ways. For instance, a single image might be compared to a single word; when many images are brought together, full and complex expression becomes possible. Multiple juxtaposition of images could be called visual poetry.

The objects on exhibit explore visual expression of spiritual beliefs. In function, however, the objects exist in the void of the spiritually fragmented Modern Technological World where their appropriate role as Totem/Ikon is profaned and must be essentially re-established. Culturally a degradation of the sacred image has occured -- from Totem and Ikon to Modern Advertising image -- from the promotion of spiritual welfare to promotion of material comfort. The objects presented in this exhibition attempt to reclaim the spiritual power of the image especially through concentrated meditations on Light. Photography, after all, is a process, like so many, perhaps all, that exists in complete dependence on Light. Fundamentally therefore, the use of the photographic medium here is to stimulate free insight into Light and Life (for is not Life somehow bound completely to Light?).

jh, reykjavík, 3.3.91