Her hair falls down, down to the depths, to meet a well of living water.
Her life waits upon the Origin cradled in her womb.
The first stroke to mold her was but a single wound, still there to part the clay.
The small sculpture Wound, Well, Womb sets forth three motifs for the collection The Origin.
At a well, one pulls for water against gravity. As the waters of the sculptures yield to the pull, they flood the land and recede to leave it parched. They find paths to make rivers but part before a staff. What is this staff that parts the ancient sea?
The womb protects and nourishes the waters to bring forth life. It appears too in the empty space within the parted waters. How does this barren womb yield despair--and hope?
These sculptures were created in tandem with a scientific project of Charles Shipman that shares a common foundation. Still contemplating the waters of life, we ponder the waters of the quantum vacuum and its fluctuations that give rise to particles and structures within the womb. And with a certain barrenness, the laws of nature lead us still to yearn. They prepare us to hear the Word that comes apart from these laws.
The waters of the well thus turn to blood as they tell us to their Origin. This is the wound present before the foundation of the world. Whether made by a stroke at the ribs at the side as the sculpture nears completion or as the first stroke in unmolded clay, the wound is the purpose of every sculpture.
So too is the wound the seed for the scientific endeavor. From the blood our thoughts flow to the waters, to the light at the resurrection, and therefore to a knowledge of the creation. We read of the waters parted across the firmament and are led to investigate currents parted to modify gravitational fields and allow for a well of energy.
Short descriptions throughout the collection give clues for how to read the sculptures. Let us follow these clues always with the staff that cares to know the wound.