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.....Living in a castle with dwarf servants, who at night retire to my old shoe boxes,
I make magnificent art work, have the very best ideas and am closely liasioned with the muse... I keep a pet armadillo and an ostrich on the castle grounds...My allies live in castles in Jemen, bamboo huts in Cambodian jungles and some inhabit pagodas on lakes surrounded by tall mountain ranges.There is a frog in my basement and I feed it chocolate.
I am a master chef and a worldfamous romantic, a connoisseur of daydreams, have a bit of a temper every now and then...
..and someone said to me today that I have a strong sense of justice.
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...The work below is documentation of a part of a project I did during the Liverpool Independent Biennial.
(PHOTOGRAPHY BY PETER HAGGERTY)
............................................. ABOUT THE ARTIST BY CRESSIDA KOCIENSKI :.....................................
"Birgit Deubner creates rich multidisciplinary installations and performances that explore notions of mythology and folklore, and the concepts of drawing and choreographed movement as parallel languages. She has spent many years in the exploration of an expanded notion of drawing which includes the mapping of dance through choreographic notation, and the visualisation of sound through the live projection of soundwaves. She has collaborated with members of the Liverpool Philharmonic orchestra and professional dancers, and has worked on projects in Morocco, India and Cambodia.
Birgit's film works eschew the convenience of the digital format for the sensuous flicker of cinefilm, often using silhouettes projected onto sculptural objects or environments – cities, forests and staircases in whose shadowy world exist these dreamlike signifiers of human fears or desires. She works consciously with sculptural materials which are haptic: the permeating smell of beeswax, the chill of ice, and the sombre weight of lead are absorbed into her rich language of signification, which has much in common with the totemic use of icon(ic)-materials of Anselm Kiefer and Joseph Beuys.
Although she is aware of her relationship to this bicephalus paterfamilias of German Art, her exploration of Devotional Choreography has perhaps wealthier resonances with Goethe's Weltliteratur. Like Goethe she seeks to promote empathy and mutual understanding through documenting the ways in which people from different faiths use repeated movement in their relationship to the Divine. She seeks the personal in the universal, but hers is not a biographical gaze – their distillation from the greater cultural context allows each faith to resonate with the visual poetry of those around it.
We are asked gently to consider the evolution and transmission of these gestures of devoted submission, which move through generations and across continents. Faiths wander and diverge with populations, but are rooted to each other and their own history in these 'dances'.
Their inscriptions are impermanent, but become timeless through their constant reinscription."
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Below is an installation that I made in India in march 2007.
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