One of my favorite aesthetics is that of the old Wunderkammer tradition. Better known as the Cabinet of Curiosity, these collections were most often comprised of objects whose identities and categories were as yet unknown to Western science. For the most part, in Renaissance Europe, this meant animals, shells, cultural objects, rocks, antiquities, and relics brought together from the far-flung reaches of the world. As precursors to modern museums, the Wunderkammer formed a kind of catalogue of natural history and archaeology. Though, a great many things which found their way into the cabinets were outright fakes. In any case, Cabinets of Curiosity as a “theater of world” have always fascinated me and though my anthropological work often takes me to just the kinds of places old aristocrats would have envied, I’m not inclined to engage in the cultural looting of temples, sacred rivers, or archaeological sites. Rather, I am inclined to create my own physical world narratives. As such, I’m including a sampling here of my most recent works.
I do this for two reasons. One, as both an anthropologist and an artist, my cultural commentaries overall can be either written or artistically rendered. This means that my sculptural works are just as important as my written works in the context of my Curriculum Vitae. And two, writing tends to reach a different audience, or at least reach an audience differently, than art imagery does. So, in the medium of the online blog, I offer both. To whichever the reader may prefer.