The holon

By Anja Marais

He is me, but he is also you and her. He wandered the carved-out path of faded memories in a daze. The fog lay thick in the dewy hills, and he kept walking through the curtain of dusk into the cobalt-dark night. When luck was on his side a star would unassumingly make its presence known. A frivolous guide with ambiguous directions. There was plenty of food for him alongside the road dripping from foliage and branches. The rotten, fallen fruit would squeeze between his toes as he walked on. He never stopped to eat; his stomach wasn’t nearly as barren as his sense of recognition. He was seeking “it”. He once, long ago possessed “it,” but it slipped away, unnoticed and unattended.

His only companion beside the occasional star was the hoarse wind. Softly, like a shawl, it would embrace his tired shoulders and lift the dust majestically around his legs. During the night shadows would visit him in unidentifiable shapes, moving in and out of the fringes of his mind. They were hardly memories but more like ripples in a bowl of water. A scrying tool of past possibilities. In his ambulatory quest he thought he saw another traveler on the road ahead of him. He hastened his steps trying to catch up. The distance between him and the co-traveler would stay the same no matter how he adjusted his speed. With adamant concentration he would not take his eyes off the stranger’s back, even when the fog coagulated the space between them. At times he would have an uneasy feeling that he was being watched but as he turned around the figure behind him had already disappeared.

The fruit was getting heavier and the branches moaned under their weight. They fell and burst like fleshy bombs over the road up against his legs. He noticed the fruit splatters on the traveller’s legs ahead of him as well. He marched on. The road would occasionally split. He knew that it did not matter which side of the fork he chose, it would always unfold as an intricate fractal of itself. He used to take the road that tugged the hardest, but now he blindly followed the familiar traveler instead.

He hardly rested, for the weight of incompleteness fed his restlessness. He decided once and for all to get hold of the strange man ahead of him. He picked up the pace and started running, an awkward shuffle, trying to avoid the slippery stains in the road of skin and pits. Behind him footsteps became imminent and louder but the fog never revealed to him the occupant it sheltered.

And then he finally stopped. Tired. Hungry. For once he allowed the aroma of tree and fruit to enter him. He reached for a full, quivering, soft peach. As his teeth sank into her body the hoarse wind momentarily lifted the fog like a flimsy lace slip and he saw the road stretched ahead of him, open and unoccupied.

By |2017-07-12T13:14:38-04:00June 27th, 2012|

The Pioneer

Notebook Entry: Key West 2008

It has been said that if one thoughtlessly crosses a river of unknown depths and shallows, he will die in its currents without ever reaching the other side. If one is interested in confronting the unknown one first has to become unattached to life and to death.

I am thinking a lot of my foremothers.

Europeans from 1756 onwards embarked on wooden schooners and sailed violent waters to dark Africa. Some died from disease and  water deaths. The survivors made landfall on a mapless continent where the unknown was best divided into that of monsters and demons. They braved on. Crossing mountains, valleys and savannah facing lion, mamba and the mighty Zulu. Only the lucky survived. They will settle in what seemed to be folds of protection amongst rivers and valleys. Mother Africa made sure she visited each family sooner or later. She breeds her own deadly diseases and came knocking on their doors to deliver her unwelcome package. Through these very dark nights the demons and monsters had a tendency to grow extra heads. Still Mother Africa was giving, like a twisted crow she opened her wings and revealed everything shiny; diamond, gold, copper and iron. The old world woke up to this far off ‘barbaric’ world, wringing their greedy hands together. They showed up with guns and fire. They raped and execute and the weak were thrown into the carcass of concentration camps. The riches were theirs for the taking. Our pioneers became yellow hollowed and defeated. The monster and demons with their multiple heads merged with the darkness to create a concoction of hate and revenge. It seeped into hollow chests and soon our humble brave pioneer became the monster himself.

And we the grandchildren, we are not European, we are not African, we have outgrown the monster and maybe all that is left in us is the pioneer.

By |2017-05-02T13:02:08-04:00May 10th, 2012|

The Guide

By Anja Marais

I was born from the flesh of a tree, my skin torn from bark, my veins filled with sap. I was hiding in my Mother’s shade, always listening to the rustle of her leaves. The ocean washed over our roots, the foam tickled my toes. When a storm eventually rose from the ocean and strained her branches she begged me to go. I obeyed, shaking the sea creatures from my legs. I uncurled my roots from the spiny rocks. I saw her body taken by the unforgiving sea; tumbling graciously she slid away in a cloak of water.

The cruelty of the ocean pushed me inland.  I searched for new kindness and warmth to rest my now frail and parched roots. The brooks were dry, the bushes filled with thorns and the rocks spit heat back up at the sun. With indifference they grazed my skin and tore my flesh. I lay in a barren enclave; my roots nothing more than knobby warts and my sap now running thick and dark through brittle veins. With every slow pump of my heart my veins shuddered like a shy dance on the beat of a faint drum. It flowed slowly and built into a crescendo. I could see the drummer sitting cross-legged while her pale hands bounced off the tightly stretched animal hide. As she kept the rhythm, the veins in her hands swayed like branches in the wind and swam up her arms like deltas into an ocean. In them I could see the outline of my Mother and every Mother before her. They were tightly crocheted in an intricate mesh of red all the way into my own vascular. A warm pulsating stream murmured repeatedly in unison: “….life, this is eternal life.”

My cracked feet started moving again, following this innate map of voices and patterns until I found myself back on a long forgotten shore. It was low tide and the ocean spit out furballs of debris and remnants of what once was. Among these were lengths of driftwood with smooth bodies buffed by a long journey in turgid waters. I picked a particularly gnarled but monumental trunk that lay on its side as if were a reclining Buddha contemplating life. The sand was warm and the ocean playful.

It is here that I am standing today with my daughter saplings sheltered at my base, while I peer into the firmament awaiting the next unavoidable coming storm.

By |2017-05-02T13:02:10-04:00April 27th, 2012|

Huffington Post interview on “SHIFT”

The Huffington Post | by 

First Posted: 01/31/2012 4:07 pm Updated: 01/31/2012 4:25 pm

In “Shift,” a wild dog steals the face from a figure born from a tree. It’s a short film collaboration by South Florida artists Juan Carlos Zaldivar and Anja Marais.

After someone working with Miami International Film Festival saw a working cut of the film, the filmmakers were invited to enter MIFF’s short film competition.

But in order to complete the film, the artists need more funding so they turned to micro-funding site IndieGogo.

HuffPost Miami spoke with Marais, who hand-sewed all the film’s characters and animals out of paper.

What was the inspiration behind Shift?
I’m originally from South Africa and Zaldivar is originally from Cuba, so we draw extensively from our experiences as immigrants. I’m concerned with “the perpetual outlander” always reaching for the unreachable.

Zaldivar’s work is often informed by our relationships with our bodies and by the transmutations and transcendences of the physical. Together, we have crafted a highly original, visual symphony that uses beautiful time-lapse photography and relies completely in film language to weave a haunting tale of loss and redemption.

How did you come up with the narrative?
Nature is important to both of us and became the main conductor for inspiration and visuals for the story. Zaldivar’s narrative was led by transformations in nature, and my narrative was led by the interstice and liminal spaces of nature.

How did you and Juan work together on the film?
Zaldivar has an extensive film background and I’m a sculptor from the Visual Arts genre. We both came together with very different approaches.

We both wrote the script, we both were models for the filming, and we both share in the labor around making stop animation.

Individually Zaldivar brought his knowledge and the filmmakers eye to provide the film with structure and flow while I provided sculptures and artwork to capture the emotions of the characters.

How does this film fit in with the rest of your work?
Before becoming a professional director, Zaldivar started his film career as a sound editor and designer, his work can be heard in Academy nominated films such as Ang Lee’s “Sense and Sensibility”, in Nanette Burstein and Bret Morgan’s “On the ropes” and on HBO’s America Undercover, for which he garnered an Emmy nomination.

For me, this short film breathed life into my sculptures. I hand sewed paper together to form three-dimensional figures to emphasize their fragility. This became part of interdisciplinary projects consisting out of sculpture, photography, installations and now film. These projects are an ongoing documentation that the journey and foreigner exists in all of us.

I have been taught firsthand by Japanese master papermakers on how to make and work with paper. You can see in the film “Shift” that all the characters are hand sewn out of paper.

Where was this filmed?
“Shift” was filmed outdoors in the Florida Keys. We found hidden, almost untouched areas on the Atlantic coastline, between mangroves and seaweed we managed to give nature an important role in our film.

You can read the full article at:

http://www.huffingtonpost.com/2012/01/31/zaldivar-marais-shift_n_1245021.html

By |2017-07-11T00:09:17-04:00February 6th, 2012|

The Solitude and Solidarity of an artist.

Notebook Entry: 2011 Key West

It all started with Prometheus.

He stole fire from the Gods and gave it to humankind to further their growth as a society. Zeus becomes furious, punishes Prometheus. He ties him to Mount Caucasus where a vulture will come each morning to eat away his liver. Overnight, his liver will grow back again. A symbol of the creative process.

This is my final note for 2011. A year of hiatus and redefining. A year of introspection and search. A year of cerebral mountains and pitfalls and also of growing back my liver. The art world is a complicated mesh of possibilities and probabilities and it is essential for an artist to once in awhile step off the speeding train and revisit his road map and ask himself tough questions. I gnawed and digested like an omnivorous beast through books and knocked on the door of every image and artist that I ever cared for.

Then came the dream…I am a small house.

The little house that was me was built inside a bigger house; this house was artist Enrique Martinez Celaya. His house was built inside yet another house. This house was painter Leon Golub. Golub’s house was standing inside a house which was the Greek sculptors. And so a house exists within a house, and so it continues.

The following night I had the same dream. This time I was standing in front of a big building with a single door. This building had a nameplate that said “Donatello“. Upon entering through the door a second building stood inside with the nameplate “Michelangelo“. Through the door of the second building stood a third building with the nameplate “Auguste Rodin“. Like a Russian doll it opened up to the smallest of building in its nucleus, which is me.

The composer Schumann believed that his musical compositions were dictated by Beethoven, and Auguste Rodin said that his work was quotations of Michelangelo’s.

After these dreams I spent a lot of time locked away, my only company that of the giants before me. I studied their choices, their decisions and their problem solving. My road map was transforming…

And for the upcoming new year I can only repeat the words of James Joyce:
“Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.”

By |2017-07-12T13:04:37-04:00December 19th, 2011|
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