Reuniting Turtle Island: The 2016 Journeys.

 Bibi Mildred Karaira Gandia thanks her 8-year-old great niece and PDJ runner Gabby, with a necklace during the ceremony. Amy Morris.

Bibi Mildred Karaira Gandia thanks her 8-year-old great niece and PDJ runner Gabby, with a necklace during the ceremony. Amy Morris.

Every four years since 1992, indigenous communities have been spiritually reuniting the Western hemisphere by participating in The Peace and Dignity Journeys. This massive undertaking is a chain of spiritual runs that cross the continents and connect the regions of North, Central, South America and the Caribbean. The endeavor is an effort to fulfill the ancient reunion prophecy of the Eagle and Condor.

As explained in the short film Shift of the Ages, the Eagle represents the Northern hemisphere, a masculine energy, and the Condor represents the Southern hemisphere, a feminine energy. The harmony between indigenous cultures across both continents, the union of North and South, was shattered by the arrival of Europeans, who brought genocide and a decimation of the traditional ways.

Peace and Dignity runner from Kingston Jamaica, Kalaan Robert Nibonrix (Taino), formally greeting elder Chumsey Harjo (Muscogee Creek Nation) during the closing ceremony of the Eastern Red Tail Hawk route July 23, 2016. (Amy Morris)

Peace and Dignity runner from Kingston Jamaica, Kalaan Robert Nibonrix (Taino), formally greeting elder Chumsey Harjo (Muscogee Creek Nation) during the closing ceremony of the Eastern Red Tail Hawk route July 23, 2016. (Amy Morris)

One interpretation of the prophecy from the Peruvian shaman Lauro Hinostroza states that for 500 years, beginning around the 16th century, the Eagle would dominate. This timeframe coincides with the onset of colonization and the profound shift in the way indigenous cultures functioned between the continents and among their own communities.

The prediction says that at the end of the 500 year cycle, an opportunity would come forth for Eagle and Condor to unite again and begin to restore balance to the world.

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Phase one, complete.

The painting is done. I’ll have to do heat setting after the last three horses are dry, then in a couple days, the big test, washing it. After that, it’s all yours, Giliell, assuming it makes it out of the wash okay.  Sorry about the gate lines, it’s really windy out, so I had to clip it down on the gate.

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© C. Ford.

Test Notes.

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A few notes. The Jacquard Dye-na-flow colours are wonderfully vivid, and light, the consistency of ink, which also means you need to rule them out unless you are after a massive bleed effect, or willing to spend money on a fabric masking product, which of course Jacquard makes, and spend all the time masking your designs, painting, then removing the mask. I don’t have time. In spite of the thinness, the Dye-na-flow dries fairly stiff. Mixing it with textile medium retards the bleed, but it also dilutes the colour coverage.

The Liquitex soft body paint is fabulous. You don’t actually need anything else, as it’s permanent on fabric, and when dry, not nearly as stiff as regular or heavy body acrylics, but the spread and flow are enhanced by a healthy amount of textile medium, and it does soften it up a bit when dry.

The Jacquard airbrush colour is vivid, thin, and beautiful, but also bleeds and it is serious stiff when dry. This mixes better with textile medium, but it’s not ideal. Both the Dye-na-flow and airbrush colours are great when adding to an acrylic paint and textile medium mix. This deepens the colour, and acts as a thinning agent.

Oh, and fingers are best for blending.

Šuŋkawakaŋ Day.

[My] Tomorrow (Saturday, 8th Oct.) will most likely see Affinity closed for the day, I absolutely have to work. I have a beautiful, 200 count, white muslin, 90″ x 108″, arriving soon, which I’ll be painting, then freehand quilting, so it can be quickly done and donated to Standing Rock for winter. I spent time on horse sketching, then pulled out my test fabric, which is most definitely not 200 count, it’s cheap muslin. Even so, I haven’t played with all the various fabric paints I’ve come by, and now’s the time, so that I don’t fuck up that lovely fabric on the way. I didn’t even get the first bloody horse finished today, and I managed to completely forget what hours bent over a table do to my spine. (Insert scream here.) The first horse is roughly 26″ x 14″. I have to finish the first horse, then get eight more done. (I also need to do this, not just for testing various media, I need to work out colours, patterns, all that jazz.) I really hate to disappoint people, and if I can get a few things posted, I will, but don’t worry if I don’t show at all. I’ll definitely be back on Sunday.

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© C. Ford.

Hehaka Tȟahá.

I keep forgetting, I got a beautiful elk hide at wačipi. It’s back to being safely tucked away for when I have time to work on it. Roughly 70something inches x 50something inches. No, I don’t know yet. Well, I know what I’m going to do with part of it, not all, and it’s something for us, so it won’t be for sale.

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© C. Ford.

Christa Resurrected.

 The artist Edwina Sandys with her sculpture “Christa,” the centerpiece of an exhibition of more than 50 contemporary works that interpret the symbolism associated with the image of Jesus. Credit Hiroko Masuike/The New York Times.

The artist Edwina Sandys with her sculpture “Christa,” the centerpiece of an exhibition of more than 50 contemporary works that interpret the symbolism associated with the image of Jesus. Credit Hiroko Masuike/The New York Times.

Edwina Sandys had seen this before: the 250-pound bronze statue of a bare-breasted woman on a translucent acrylic cross being installed in the Cathedral Church of St. John the Divine.

This time around, however, she does not expect to see something else she had seen before: the statue being packed up after a call from a ranking church official telling her it had to go.

That happened the first time “Christa,” Ms. Sandys’s sculpture of a crucified woman, was shown at the cathedral in Manhattan during Holy Week in 1984.

A controversy erupted, complete with hate mail attacking it as blasphemous. Overruling the dean of the cathedral at the time, the suffragan bishop of the Episcopal Diocese of New York called the statue “theologically and historically indefensible” and ordered Ms. Sandys to take it away.

This time, it is being installed on the altar in the Chapel of St. Saviour as the centerpiece of “The Christa Project: Manifesting Divine Bodies,” an exhibition of more than 50 contemporary works that interpret — or reinterpret — the symbolism associated with the image of Jesus.

[…]

She came to know the Very Rev. James Park Morton, the dean of the cathedral for 25 years until 1996. “I said, ‘How brave are you?’” in 1984, she recalled. “He may not have said ‘try me,’ but words to that effect. I said, ‘How would you like to exhibit “Christa,” the female Christ?’ He said, ‘I’d be delighted.’ I took a deep breath, and that was that.”

Except with that, as Ms. Sandys put it, “all hell broke loose.” Angry letters arrived (the cathedral preserved them in its archives) and, according to Ms. Sandys, the suffragan bishop, Walter Dennis, “said he didn’t want it, and I had to come and get ‘Christa.’”

The full story of Christa is here.