Women were being borne aloft by birds

by winged maidens and enfolded women

soaring birds symbolically initiating the journey

of the Goddess or Shaman's ascent of the soul

flight between earth and sky realms

by winged and masked bird like beings.

Women were being borne aloft by birds

by winged maidens and enfolded women

soaring birds symbolically initiating the journey

of the Goddess or Shaman's ascent of the soul

flight between earth and sky realms

by winged and masked bird like beings.

Flight has always represented freedom from the

physical restrictions of earthbound life and the

ascent of the soul, this ascent is achieved

through the belief of mystical experiences

trances and ritual dancing. Birds also assume

this journey in the role as messenger from spirit

realms, and the flight of the soul from the grave.

Local ceramic artist describes herself as a

tribal artist in search of a tribe, as someone who makes

ritual objects in search of rituals. Her clay images

reflect a keen sense of archeology, myth and folklore.

The clay surfaces of the procession of bird masked

goddess have been treated in many subtle ways of

colouration in layers of slips, pigments, glazes

and acrylics.

Withers’ sculpture addresses some of the most obviously

ambiguous art forms found from Old European artisans’

images of anthropomorphic figurines that are neither

human nor animal. Hybrid images, perhaps half women

and half bird, that lack naturalistic detail, were con-

ceived as explanatory images to induce an ordered

experience of life and nature itself, assuring the

continuing cycles of birth, life, death and rebirth.

For these artists there were goddesses to please

and appease.

Faye Withers Rituals play a role in all societies, religions, cults,

past and present. Withers states that the belief

remains today that nature and the will of the

goddess/god can be influenced by symbols and

rituals in the continuous cycle of marriage,

baptism, initiation and death. There is a need

within the human psyche to communicate

with the forces that control our lives through

ritual ceremonies.

These sculptures rich in symbolic meaning

and mystery hint at the complex web of

powerful impressions that influence us.

Perhaps we, as viewers, can imagine the

ritual to which these images belong, or

perhaps we can perceive the absence of

ritual and tribe in our lives.

Mythology abounds with stories

of creation with the celestial bird

and the cosmic egg. The Bird

goddess portrays not only the

spirit of life but also the human

soul after death and as a symbol of

rebirth and regeneration, for birds

are born twice, as an egg first and again as

a chick, and thus offer a new life in the cyclical

transformation of nature. The belief is still relevant

today in the ritual celebration of Easter with

decorated eggs, being the sign of rebirth.

Women were being borne aloft by birds

by winged maidens and enfolded women

soaring birds symbolically initiating the journey

of the Goddess or Shaman's ascent of the soul

flight between earth and sky realms

by winged and masked bird like beings.

Women were being borne aloft by birds

by winged maidens and enfolded women

soaring birds symbolically initiating the journey

of the Goddess or Shaman's ascent of the soul

flight between earth and sky realms

by winged and masked bird like beings.

Flight has always represented freedom from the

physical restrictions of earthbound life and the

ascent of the soul, this ascent is achieved

through the belief of mystical experiences

trances and ritual dancing. Birds also assume

this journey in the role as messenger from spirit

realms, and the flight of the soul from the grave.

Local ceramic artist describes herself as a

tribal artist in search of a tribe, as someone who makes

ritual objects in search of rituals. Her clay images

reflect a keen sense of archeology, myth and folklore.

The clay surfaces of the procession of bird masked

goddess have been treated in many subtle ways of

colouration in layers of slips, pigments, glazes

and acrylics.

Withers’ sculpture addresses some of the most obviously

ambiguous art forms found from Old European artisans’

images of anthropomorphic figurines that are neither

human nor animal. Hybrid images, perhaps half women

and half bird, that lack naturalistic detail, were con-

ceived as explanatory images to induce an ordered

experience of life and nature itself, assuring the

continuing cycles of birth, life, death and rebirth.

For these artists there were goddesses to please

and appease.

Faye Withers Rituals play a role in all societies, religions, cults,

past and present. Withers states that the belief

remains today that nature and the will of the

goddess/god can be influenced by symbols and

rituals in the continuous cycle of marriage,

baptism, initiation and death. There is a need

within the human psyche to communicate

with the forces that control our lives through

ritual ceremonies.

These sculptures rich in symbolic meaning

and mystery hint at the complex web of

powerful impressions that influence us.

Perhaps we, as viewers, can imagine the

ritual to which these images belong, or

perhaps we can perceive the absence of

ritual and tribe in our lives.

Mythology abounds with stories

of creation with the celestial bird

and the cosmic egg. The Bird

goddess portrays not only the

spirit of life but also the human

soul after death and as a symbol of

rebirth and regeneration, for birds

are born twice, as an egg first and again as

a chick, and thus offer a new life in the cyclical

transformation of nature. The belief is still relevant

today in the ritual celebration of Easter with

decorated eggs, being the sign of rebirth.