VOID OF COURSE is a curatorial platform that began as three-month artists' residency (April - June 2016) at Women's Center for Creative Work, centered around mysticism, feminism, and the arts. It continued at Elephant Gallery, opening November 20, 2016.
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VOID OF COURSE is a platform for female & non-binary identified visionaries that takes feminist inspiration from the “void of course” Moon. “Void of course” is an astrological term for a period of time when the Moon is transitioning between signs in the zodiac, and is unaspected by any other celestial influence. While historically considered to be an unfortunate or misaligned astrological period for deliberate actions, we celebrate the metaphoric possibilities of the uninfluenced moon as a spiritual location for female mystics on journeys into uncharted personal and collective unknowns. In creatively engaging with our own “unoccupied” spaces, we heal ourselves and make accessible our capacity for giving artistic and spiritual authority to ourselves. We choose to celebrate our integrated identities as female-identifying, artists, seers, and healers. We offer ourselves power and transcendence in a patriarchal spiritual world which does not readily give us agency, and an art world which does not readily give us place.
VOID OF COURSE was originally conceived as a healing response to the “Marjorie Cameron: Songs for the Witch Woman” exhibition held by MOCA in 2014. Cameron is perhaps best known for her celebrated position as The Scarlet Woman or Mother of Abominations in Aleister Crowley's “Babalon Working” as depicted in Kenneth Anger’s films. These rituals were also privately performed by Jack Parsons and Marjorie Cameron, with the ultimate goal of producing a “Moon Child”, a fetus containing a the spirit of a deity which would grow into a child with Messianic potential. This child, though conceptualized, was never born. Parsons died in an explosion, and Cameron became the prime instigator in her magical life – bearing creative fruit on her own terms. VOID OF COURSE chooses to honor Cameron’s creative practice outside of the confines of a masculine mysticism, and in turn honors the work of female-identified practitioners who continue to chart their own terrain both spiritually and artistically.
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