With materialistic mainstream science having long since claimed the status previously enjoyed by religion, and religious institutions becoming ever more marginal, the world of art, philosophy and holistic mainstream science (the last still viewed as "heretical" by many) is now the refuge for inquiry (albeit in hushed tones) about everything that lies outside the visible, palpable world. And not just "outside" or "beyond", we should be quick to point out, but also things that are between, next to, above, inside the particles of the visible world ... The internal structure and invisible dynamics are the underpinning of everything that can be perceived with the eye. All forms and proportions are the manifestation of the invisible, F. J. Molitor wrote. Personally, I like the bold hypothesis that the reality we know is only something we decode from energy fields, rendering it into a visible world, but actually only a holographic illusion. And space-time is a collective, concentrated form of thought, in the creation of which we are all unceasingly complicit in consensually imagining. How to map this complex, multidimensional reality?
We are told by astrophysicists that people, using their physical eyes, can only see about four per cent of everything that exists. Using the means afforded by modern science, it is hard to say anything with certainty about the remaining 96 per cent other than the fact that it is dark matter, dark energy. Our entire mainstream scientific discipline and social order is built on the knowledge of the existence of that four per cent, almost like a sheet of film that has been stretched out thinly on a frame and which is liable to tear if it is scrutinized by any observer who looks a bit deeper. On the level of mass consciousness, the channels that connect that four per cent to the Whole have been severed and an expansive and numbing world of consumer retail goods has been implanted into the heads of susceptible humanity. Perhaps that is why the nature of matter has become degraded in the consciousnesses of modern people. Isolated from spirit and from energy, matter is for most observers lifeless, dead
Quantum physics proved – or rather, helped us rediscover the primordial, age-old truth – that matter and energy are not separate from one another. In fact matter and energy are not even different forms of the same elemental value. They are, at their deepest essential level, one and the same. The brightest of our scientists have (re)discovered the deepest dimension of existence, a certain type of primal field, from which all that we know emanated. It has been known by different names over time: Akasha field, psi-field, hyperspace, implizirte Ordnung. That part of science and society which is not able (in their minds) of returning to the wellspring of existence lacks roots, and likewise lacks support for the concept of an invisible world.
Everything that exists is energy: information that is in perpetual interconnection through quantum energy exchange on the subatomic level. Each atom has a consciousness, each atom is sacred. Matter in which the concentrated expression of energy can be discerned comes to life. Matter which an artist, using a method we can liken to the use of high pressure, shapes into an artwork and in which the oneness of matter and spirit can be clearly perceived, redeems the viewer from the superficiality of the illusory world. At least at this point in space-time. And that is no mean feat.
The artists of Castle in the Air sense their roots in, draw their power, from a great hall that they imagine on an ethereal plane. The founder of the artistic school, Kadri Mälk, creates work in which I strongly sense the presence of the powerful Black Isis archetype. An ancient symbol, the Great Goddess, or Black or Veiled Isis, is an intermediary of the potential that lies in the Great Void and the nurturer of roots. Dion Fortune has called it a sanctuary that lies in the shadow, older than time and more forgotten than gods. Black Isis is harboured in people's subconscious and can seem frightening for the unprepared or uninitiated; certainly the same can happen when people who are not prepared to look very deeply within themselves encounters Mälk's work.
Being aware of one's multidimensional nature makes it possible to move between various spheres without entropic losses. The material world with its countless restrictions and limitations forces a sensitive soul to move toward his or her true centre and concentrate all experience and perception at one point from which new universes can come explosively into existence. The artists of Castle in the Air are building a temple of the spirit; the radiance emanated from which manifest as jewellery. Every artist in the group expresses themselves in their own musical key, with darker and lighter tonalities, visions that inquire into states of matter ranging from intricate ornamental work of fractal complexity and "suspended waves" as well as lusher paradisiacal visions. Here there is both asceticism and luxuriance. There is primal solidarity with the natural world of old, blithe sans souci, keen insight ... And behind it all, linking them, is some invisible thread or latticework, an intense, supercharged presence.
A strong spiritual force gives them the capability of conveying critical information from the clear light to this world, to viewers, through the influence of form. The jewellery created (and worn) by the artists of Castle in the Air enter into an energy-based dialogue with the wearer, protecting, supporting or inspiring the person through the field and the message embedded by the artist in the piece. In this sense I would draw a conceptual parallel with ancient cultures where jewellery was not just a demonstration of power and wealth but a talisman that protected, supported and amplified the wearer's xi. For instance, precious stones are extremely powerful energy media whose real power lay shrouded in oblivion for most of humankind for millennia. But a crystal of a specific size, shape and origin vibrating at a specific frequency can be a powerful "weapon", with the power to heal as well as to destroy – depends on the program embedded.
The jewellery of the artists of Castle in the Air brings the viewer together with fragility, vulnerability, awe, dignity, power and magic. The concentrated spiritual power sequestered in this jewellery speaks to us with needle-sharp delicacy, evocative radiance and concealed magic. It inspires us to explore the meeting point of the apprehensible and the elusive, incites us to go outside the "box" delimited by space-time and make discoveries also in our familiar four dimensions. Castle in the Air has the power to intrigue, surprise, delight, and challenge us. Despite offering stiff resistance, the playground encircled by conventional reality proves only a mirage, and somnambulance becomes a way to delve into the essential strata of a deeper reality.
Castle in the Air
is a group of 7 jewellery artists: Kadri Mälk, Tanel Veenre, Piret Hirv, Eve Margus-Villems, Kristiina Laurits, Katrin Sipelgas and Villu Plink. The group was formed in 1999 and has since exhibited their works jointly in Estonia, the Netherlands, Spain, Germany, Denmark, Portugal, Hungary and China. The exhibition at the Tallinn Northern Lighthouse was accompanied by the book "Castle in the Air" (Arnoldsche Art Publishers, 2011).
Saale Kareda (1968), Estonian musicologist, doctoral studies at the department of musicology at the University of Vienna.
Installation: Katrin Sipelgas
Tallinn Northen Lighthouse.
Photos: Villu Plink, Tanel Veenre