NIGHTSHAKING WITH THE INGRAM COLLECTION

Page 20

On the โ€œcrossing overโ€ wall between the two ๐˜•๐˜ช๐˜จ๐˜ฉ๐˜ต๐˜š๐˜ฉ๐˜ข๐˜ฌ๐˜ช๐˜ฏ๐˜จ rooms there are five small alchemical works. A foretelling of the crowning of nature that is possible as a result of the work of the Night Sea Journey. Dean Melbourneโ€™s ๐˜Š๐˜ณ๐˜ฐ๐˜ธ๐˜ฏ (๐˜๐˜ฏ๐˜ท๐˜ฆ๐˜ณ๐˜ต๐˜ฆ๐˜ฅ) painting holds the centre of the wall with Chantal Powell's bronze ๐˜ˆ๐˜ญ๐˜ค๐˜ฉ๐˜ฆ๐˜ฎ๐˜บ ๐˜Š๐˜ณ๐˜ฐ๐˜ธ๐˜ฏ sculpture to the left. The bronze Crown is paired with a beautiful, jewel-like Dora Carrington painting, ๐˜๐˜ณ๐˜ช๐˜ด ๐˜›๐˜ณ๐˜ฆ๐˜ฆ ๐˜–๐˜ฏ ๐˜ˆ ๐˜๐˜ฐ๐˜ณ๐˜ด๐˜ฆ (C.1920s), made from silver foil, oils and ink on glass. A triumphant, almost Arthurian image, the female figure charges heroically on her quest with a sword at her side and a billowing blue cloak. To the right another of Powell's bronze works, a pair of flaming wands based on an emblem from Claude Paradinโ€™s ๐˜‹๐˜ฆ๐˜ท๐˜ช๐˜ด๐˜ฆ๐˜ด ๐˜๐˜ฆ๐˜ณ๐˜ฐ๐˜ช๐˜ฒ๐˜ถ๐˜ฆ๐˜ด (1551), sits above John Craxtonโ€™s gold-framed ๐˜š๐˜ฎ๐˜ข๐˜ญ๐˜ญ ๐˜๐˜ช๐˜ด๐˜ฉ (1956). The fish is a familiar symbol of the unconscious but this wonderfully colourful image is also indicitive of the transformative โ€œcauda pavonisโ€ (peacock's tail) moment of alchemy in which an array of colours appear.


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