Spirit – The Fifth Element

“Earth, Water, Fire and Air plus One, Spirit”

     This idea was conceived during the Covid restrictions of 2021, during which time we were all consumed with the pandemic sweeping the world. Uncertainty and fear gripped everyone and the search for answers was paramount. We looked beyond the natural physical worlds in which we lived outwards towards the spiritual world. The starting point being the four elements of Earth, Water, Fire and Air and integrating the aspect of “Spirit”.

     The physical world can be visually defined by a series of interlocking shapes. These being eroded contours and worn profiles through the effects of water, wind, air, and fire over protracted periods. Whether slow and prolonged over millennia, or with speed through the effects of water erosion or fire. Change comes continually and its effects can be profound and substantial.  I have used my earlier sketch books to return to a drawing of a rock formation as a basic structure for this tapestry. The aspect of  movement through time uses the curving flowing line to explore the pathways within the design. The curved line describes movement and hence the passing of time.  This is characteristic of all my work from the early 1980’s. The dimensions and structures of woven curves require a mathematical sequencing of the weft threads in relation with the warp. This has enabled me to relate to the eroded, flowing shapes of our natural landscape and the wider world of nature.

     The aspect of “Spirit” is profoundly different to the visual and tactile shapes and forms. It is a non-physical part of a person’s world; it is the seat of emotions and character: the soul.

‘………we seek harmony between body and spirit’

      The human spirit, seated within the brain, is an extraordinary force in each and every individual, and embodying a remarkable range of capabilities. From resilience to creativity, empathy to courage it showcases its incredible potential in various aspects of life.

     But how to embody some of these attributes in the central theme in a visual interpretation? Symbols, images, colour palettes including harmonies and contrasts may all contribute to explore the esoteric and mysterious. Whilst the visual aspect allows the viewer to enter into the theme I feel it needs further explanation to encourage the onlooker to seek out alternative pathways. To gain more of an experience and to achieve closer understanding of my aims and objectives.

     The initial view readily identifies the four elements, Earth, Water, Fire and Air which are linked to the landscaped structure of the tapestry. It is the strong contrasts which are the key. for they help to create the mysterious, the dramatic and the subtle.  With “light” the known, and “dark” are the representatives of the unknown, of good over evil, the renewal of life and knowledge over ignorance as is epitomised in the Hindu celebration of “Diwali”. We can view the colour contrast starting from the light and moving through to the dark or the reverse approach. This movement through numerous tones of colour draws the eye further and deeper into the design. With contemplation and reflection on a particular area, shape or colour the brain is drawn deeper and further into the concept. This helps to create a sense that there is something more than just the shapes and colours. Is this the “Spirit”?, thoughts and feelings beyond our being and physical surroundings. It is part of a personal and inward journey and a quest for understanding, connection and meaning. A subjective experience, non-materialistic, imaginative and of ethereal and metaphysical.

    Have I achieved my aim?

    Can I say this or must others make this decision?

    For my part the overall experience, which has lasted a total of two months or more has been profound. Immersion in this activity from the initial starting point through research, drawing and painting, to breathing life into my loom and the many hours of being in front of my loom weaving is a reflective and philosophical encounter. I welcome this opportunity to be in a “bubble” where the mundane and the everyday can be put to one side. From this stand point I am satisfied but what of the viewer who is confronted with the image. It is for this reason that I write a description of my “processes” to enable a more involved relationship with the viewer to develop.

     Perhaps the most important aspect of my ways of working is how I benefit, as artist and weaver. Prolonged involvement in such a project, whether from a physical of metaphysical standpoint, cannot be over looked. Over the decades as a Tapestry weaver my work has been both sequential and developmental. This has manifested itself with the creation of an on-going style where an idea or concept, weave technique  and methods of working has changed because of previous experience. Along this textile pathway a selection process has taken place where the more successful has been progressed and the lesser has been put to one side or rejected. Tapestry weaving takes time, thinking time, and weaving time. I thrive on this slow practise, relishing the day to day involvement, of reviewing previous days weaving and considering future progressions. Although a finished tapestry is an achievement of great significance but of far greater importance is what effect it has on me and my future creative journey. The pathways are varied with a multitude of twists and turns, of deviations and meanderings to consider and explore.

“ I always discover what I never expected”

Michael Crompton  2024

www.michael-crompton.co.uk