http://www.chiara-no.com/the-tenets-of-crowning daily 0.75 2025-10-20 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537201605325-S4HRJ7FC5E9YI3DS829E/TenetONE.jpg The Tenets of Crowning - Tenet Two of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537201605325-S4HRJ7FC5E9YI3DS829E/TenetONE.jpg The Tenets of Crowning - Tenet Two of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1422124327355-OGPO8B31488JWFIH89R6/Tenet1-72dpi.jpg The Tenets of Crowning - Tenet One of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1432309562310-IBSZXN70VZ777CQ7WA8D/Spring2015-72dpi-6+copy.jpg The Tenets of Crowning - Tenet Two of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516071722536-77H6E6MFCUE0JDV7IUO4/1_Tenet+3+2017.jpg The Tenets of Crowning - Tenet Three of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2017) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200504006-KMWWUYE3SHR44MHTYHHK/1258.jpg The Tenets of Crowning - Tenet Three of Crowning (DETAIL) Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2017) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200574188-G1ZYFOIM4YRT3FV42EIJ/06.jpg The Tenets of Crowning - Tenet Three of Crowning (BACK DETAIL) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200524132-K9ILASGBX634UBIPS22T/1254.jpg The Tenets of Crowning - Tenet Three of Crowning (FRONT DETAIL) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200404972-AX7HQSQXWA1SRYYZYUDI/DSC_0046.JPG The Tenets of Crowning - The Tenets of Crowning Tenet Four of Crowning (2018) Tenet Five of Crowning (2015) Tenet Seven of Crowning (2018) Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" each https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200417629-JMO4W1YIT3PWVDLWER5C/DSC_0018.JPG The Tenets of Crowning - The Tenets of Crowning (BACK DETAIL) Tenet Seven of Crowning (2018) (Front) Tenet Five of Crowning (2015) (Middle) Tenet Four of Crowning (2018) (Blocked in photo) Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" each https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1537200429636-F0C4E6OAJF3JAIPCWBAI/DSC_0019.JPG The Tenets of Crowning - Tenet Seven of Crowning (BACK DETAIL) Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2018) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1436726355021-808I8BVZFE5CBYFWXMSU/Brx_Doc_No_032_.jpg The Tenets of Crowning - Tenet Five of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1422124327431-0TBTO277JQQY518JTH3Y/Tenet2-72dpi.jpg The Tenets of Crowning - Tenet Six of Crowning Thread, waxed thread on reactive dyed and waxed canvas, burlap and linen. 68" x 88" (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1432309290029-0M280S6BVGFGQ32XN2OH/image-asset.jpeg The Tenets of Crowning - Untitled (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1436726355916-0PPN1LOQXBX1VH2Y47NK/Brx_Doc_No_045_.jpg The Tenets of Crowning - Untitled (Swallow) Seven Microphones, Two rubber bands, Microphone stand, Three microphone extender arms, Four 5 disc CD recievers, Tape Receiver, Found wood, Two slabs of concrete, Power Strip, Sound, Ambient noise, Silence, 52" h x 40" w x 48" l (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1436726354718-KT3OU0S394LZY656YFLO/Brx_Doc_No_017_5.jpg The Tenets of Crowning - Untitled (Swallow) Seven Microphones, Two rubber bands, Microphone stand, Three microphone extender arms, Four 5 disc CD recievers, Tape Receiver, Found wood, Two slabs of concrete, Power Strip, Sound, Silence, 52" h x 40" w x 48" l (2015) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1484093848161-A9E9QBBP36AM8GWCYDW5/Nancy.jpg The Tenets of Crowning - Crowning (Nancy) Screen print acrylic on utility tarp. 69" x 91" (2016) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1436726819933-AHAILJ7FSQZXWALDBMOK/Brx_Doc_No_054_5.jpg The Tenets of Crowning Ovary Gang - (Left) Inkjet bitmapped photograph of a crochet human hair and 100% wool (Right) Inkjet bitmapped photograph of two hand sewn screenprinted black demin balls stuffed with plastic hacky sack pellets nailed to the wall https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1458436895543-BS7QFLSGYV0SBZGI10N5/NoChiara_01.jpg The Tenets of Crowning - Crowning (Regina) Sharpie on reactive dyed and waxed canvas. 73" x 91" (2014) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1458436902007-6CRWGLBXVC78ER1NHGMQ/NoChiara_02.jpg The Tenets of Crowning - Crowning (Queenie) Sharpie, staples on reactive dyed canvas. 73" x 84" (2014) https://static1.squarespace.com/static/52b484c9e4b0d1c471ea2fa8/52b48582e4b0d40f9d03c811/53691fa2e4b04e767ae99d8a/1399398306629/ The Tenets of Crowning https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1458436904208-6NDS1LQJP19KOF2XP9U8/NoChiara_03.jpg The Tenets of Crowning - Crowning (Fiona) Sharpie, staples, waxed thread on reactive dyed canvas75" x 85" (2014) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1463066166082-B7C3O3E18KY093EHKODS/veronica16-063.jpg The Tenets of Crowning - NO Installation of work at SAMUEL, Chicago, IL 2016 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1463066159744-EEUDDBWLJ6V7R1ZE76U3/veronica16-045.jpg The Tenets of Crowning https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1463066165452-3BNCJVR6TRNLJGBJ6RQ5/veronica16-059.jpg The Tenets of Crowning https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1463066171681-DY7U1I93D39URVFSCRY7/veronica16-090.jpg The Tenets of Crowning http://www.chiara-no.com/you-have-been-deactivated-for-violating-instagrams-community-guidelines daily 0.75 2022-06-13 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1655128435544-P4JIRCIKQRQQUMUVUHVQ/image-asset.jpeg "Your account has been disabled for violating our terms" - No Bad Women This is only a partial archive of my wrongfully terminated Instagram account; An account that was completely within IG's Community Guidelines but aggressively reported by someone/s until it account was deactivated. These images were meant to be seen inside the walls of your phone, impregnating your feed, not in a sterile "white cube." Images and videos are from July 2016 to November 2017. Each photo or video was accompanied by text either about confrontational humanism, sex positively, kink, Herstories, feminizing language and literature, ecofeminism, Goddess Powers, re-contextualizing heroines in Greek Mythology and history, folklore, witchlore, anti-capitalism, anti-patriarchy, anti-racism, pro-Others, demonology, abjection, feminist horror theory, nihilism or Heavy Metal. The researched, crafted, and poignant text that accompanied each image have been lost. I have started a new account @tipper_gore that is linked to my website under the same name tag. There you can experience the original intentions for these image and videos with new work. NOTE: Viewing this on your smart phone embedded in your feed is the intended method. I also suggest clicking on the tiny black grid in the upper right corner of this screen to more easily view all the content. Jax Lahav, "Instagram's Shadow: The Story Of How Instagram censors artists, erases the LGBTQ community, and shames women’s bodies," May, 29, 2020. http://www.midnightsociety.org/instagram https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1655128435544-P4JIRCIKQRQQUMUVUHVQ/image-asset.jpeg "Your account has been disabled for violating our terms" - No Bad Women This is only a partial archive of my wrongfully terminated Instagram account; An account that was completely within IG's Community Guidelines but aggressively reported by someone/s until it account was deactivated. These images were meant to be seen inside the walls of your phone, impregnating your feed, not in a sterile "white cube." Images and videos are from July 2016 to November 2017. Each photo or video was accompanied by text either about confrontational humanism, sex positively, kink, Herstories, feminizing language and literature, ecofeminism, Goddess Powers, re-contextualizing heroines in Greek Mythology and history, folklore, witchlore, anti-capitalism, anti-patriarchy, anti-racism, pro-Others, demonology, abjection, feminist horror theory, nihilism or Heavy Metal. The researched, crafted, and poignant text that accompanied each image have been lost. I have started a new account @tipper_gore that is linked to my website under the same name tag. There you can experience the original intentions for these image and videos with new work. NOTE: Viewing this on your smart phone embedded in your feed is the intended method. I also suggest clicking on the tiny black grid in the upper right corner of this screen to more easily view all the content. Jax Lahav, "Instagram's Shadow: The Story Of How Instagram censors artists, erases the LGBTQ community, and shames women’s bodies," May, 29, 2020. http://www.midnightsociety.org/instagram https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1587770036777-D8MZG88LZ90N45HRVHKS/image-asset.jpeg "Your account has been disabled for violating our terms" - no bad women This is only a partial archive of my wrongfully terminated Instagram account; An account that was completely within IG's Community Guidelines but aggressively reported by someone/s until it account was deactivated. These images were meant to be seen inside the walls of your phone, impregnating your feed, not in a sterile "white cube." Images and videos are from July 2016 to November 2017. Each photo or video was accompanied by text either about confrontational humanism, sex positively, kink, Herstories, feminizing language and literature, ecofeminism, Goddess Powers, re-contextualizing heroines in Greek Mythology and history, folklore, witchlore, anti-capitalism, anti-patriarchy, anti-racism, pro-Others, demonology, abjection, feminist horror theory, nihilism or Heavy Metal. The researched, crafted, and poignant text that accompanied each image have been lost. I have started a new account @tipper_gore that is linked to my website under the same name tag. There you can experience the original intentions for these image and videos with new work. NOTE: Viewing this on your smart phone embedded in your feed is the intended method. I also suggest clicking on the tiny black grid in the upper right corner of this screen to more easily view all the content. Jax Lahav, "Instagram's Shadow: The Story Of How Instagram censors artists, erases the LGBTQ community, and shames women’s bodies," May, 29, 2020. http://www.midnightsociety.org/instagram https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127314754-8MJJU3MQ484OAR6E8IIM/image-asset.jpeg "Your account has been disabled for violating our terms" - blood honey double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127337065-2ABA2JJOBJJYWZ97PC65/image-asset.jpeg "Your account has been disabled for violating our terms" - "Your account has been disabled for violating our terms" This is only a partial archive of my wrongfully terminated Instagram account; An account that was completely within IG's Community Guidelines but aggressively reported by someone/s until it account was deactivated. These images were meant to be seen inside the walls of your phone, impregnating your feed, not in a sterile "white cube." Images and videos are from July 2016 to November 2017. Each photo or video was accompanied by text either about confrontational humanism, sex positively, kink, Herstories, feminizing language and literature, ecofeminism, Goddess Powers, re-contextualizing heroines in Greek Mythology and history, folklore, witchlore, anti-capitalism, anti-patriarchy, anti-racism, pro-Others, demonology, abjection, feminist horror theory, nihilism or Heavy Metal. The researched, crafted, and poignant text that accompanied each image have been lost. I have started a new account @tipper_gore that is linked to my website under the same name tag. There you can experience the original intentions for these image and videos with new work. NOTE: Viewing this on your smart phone embedded in your feed is the intended method. I also suggest clicking on the tiny black grid in the upper right corner of this screen to more easily view all the content. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516126078137-0RVBVV3G82P9LGBXA8Z7/image-asset.jpeg "Your account has been disabled for violating our terms" - kiss her double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127168243-MHGJDZEQ8SI0NNS4IQKS/7.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127107912-6C15ODFOSG0KSK92AH3T/image-asset.jpeg "Your account has been disabled for violating our terms" - ice scream double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127167712-ELESD0MPCDWLN5E4TA9D/1.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1587771306802-9NXEPTAU6WFN8TXSRPPP/image-asset.jpeg "Your account has been disabled for violating our terms" - guns double click on video to see the full video https://static1.squarespace.com/static/52b484c9e4b0d1c471ea2fa8/5a5e1bd1652dea1605980e9c/5a5e269971c10bc09447b228/1516119705561/ "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127167979-XQ9PLSP8E3OLNJ5CFLB2/4.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127206258-52TAJC96V0ND3GJRFGTU/Day139.jpeg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128154716-82D1N1E29XEQJM60GFFH/image-asset.jpeg "Your account has been disabled for violating our terms" - ooze double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516120888874-C7O7TB01W5HHZLZADRMK/image-asset.jpeg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128821825-PDC09FWCCW7Y3Z4SCSQY/04.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128814943-TEG0XDE15JZYSBLMULTU/02.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128818119-RRNRGZIU435CNDD79RC2/3.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128819451-20UTBCJ1JU160AZBAYL3/05.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128819848-MOG3XZYZF359LYCG1FSX/09.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128820494-PWPJXK85HQUOLHPUE97V/10_0.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128821213-XLO86UOKW5NO82LRXJDL/10_1.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128821827-89TOS59N5W2P42TS1F1H/10_2.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128194584-173AEYFYXP57W0E0BY23/image-asset.jpeg "Your account has been disabled for violating our terms" - pentagram double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128822315-XFV4E6UVCAWPDDAS3HYZ/12.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127169231-3BATZ2YETGWDON0DHEEP/795DD33B-C6AF-4D2D-A6E6-5EA3F330D807.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127169475-QRHKNP26BFQ7I6BF5BVT/AE86E08C-32B8-4A31-8F55-8705D14A3173.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127199864-SZ547MTD2ENFDL3MQ85W/Day124.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127270472-NANXOMFOAV0J2EDKBTC1/image-asset.jpeg "Your account has been disabled for violating our terms" - corpse 2 double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516131109736-CTAFNV30STDFNT4BDT70/Dec19_2017_1.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516131109801-TEC6VXD20ORO4G1V6IPK/Dec19_2017_2.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516131110042-KB3NC6ES4B2SADKLJRCZ/Dec19_2017_3.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127169889-U9EZBCJ54S8O67IW05TD/Day9.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127171065-CAQ9YXOIXEJGRBRRKC9F/Day15.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127171120-Z12OI3UC245SCEUF1QTW/Day17.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127171349-AVL3XOI4JNP4O0UN9T2W/Day32.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127178282-NI9WSD193YUE24KUP1N5/Day40+2.png "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1587776110578-GXPZIACW07UDHOAQVSPN/image-asset.jpeg "Your account has been disabled for violating our terms" - clumps double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127176215-IQQEH8Z6XAEXN1DZRDXW/Day58.jpeg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128092975-B6QF4CEPHAJG202IIY3C/image-asset.jpeg "Your account has been disabled for violating our terms" - cleansing your screen double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127169896-27EUQZ6O64OCZ039NE9S/Day8.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127177668-D07KC4BDPFAQNVQE1QUU/Day64.jpeg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516128815037-49QFQA4E5N4NNJ0SXY8Y/01.JPG "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127178723-KMH56TZO1RV1YZI6LDMB/Day73.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127167773-ZGGUGF2VU3M53LIK6HZV/2.jpg "Your account has been disabled for violating our terms" https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1516127213244-FK46NMRVQJ3M6Q9UJBP7/Day191b.jpg "Your account has been disabled for violating our terms" 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https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1587776142597-KZIM3RYBKE4XI4SRXHCO/image-asset.jpeg "Your account has been disabled for violating our terms" - keep staring double click on video to see the full video https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1587772408915-7SAUTIXDGZCCC5YDXQJF/image-asset.jpeg "Your account has been disabled for violating our terms" - church double click on video to see the full video http://www.chiara-no.com/hertongue daily 0.75 2024-06-01 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890239182-1AM42DQA6X4RV3CQADHW/1_150dpi.jpg Her/Tongue - Cronelogista Yarn, plastic, thread, leather, cock feathers, snake hide, salt, oil, water, candles, silver bells, leather, aluminum, glass. 70” x 78” (Rug 5' ft diameter) 2018 White Couch Press Release: The politics of speech is a game of gender, identity, suppression, and power. Chiara No has dedicated her craft, art, and life to reclaiming the woman tongue within a patriarchal language (American-English), feminizing the components of language-structure itself. This exhibition presents a culmination of hidden woman-worlds wherein the feminine is accessed through personalized ritual and presented as an imanently unreadable text. Sewn and edited books, personal objects, and a saturday-summoning rug will be displayed alongside the artist’s unbounded, suggestive instructions on the use of the magic circle. In 1692 Cotton Mather’s book Ornaments for the Daughters of Zion, Or The Character and Happiness of a Vertuous Woman was published in Boston. In this he wrote that a woman should "Be careful [not to] Speak too soon… And be careful that you don't Speak too much" because “'tis the Whore, that is Clamorous, and the Fool, that is Full of words." The Salem witch trials were perpetrated that same year, under the auspices of Cotton and his father, Increase Mather. The language and ideology of Anglo-American men has shaped this nation. Chiara No responds directly to the groundwork for suppression, abuse, and murder laid out by Cotton Mather and the Anglo-misogynist mindset, utilizing the Madonna-Whore complex as a base for exploration and reinterpretation. Whores, Witches, demons, and fools are the protagonists of No’s language and art. No-language is a polysemic inversion, a demolition, of Anglo-American patriarchy. Chiara No states that her work “wrestles with a primal repression, human to woman... The circle becomes conical as my research descends into the body politic of the past’s demons towards today’s other… The heretic, the witch, the mentally ill, the sexually and gender oppressed are all historically politicized bodies known as Demons. By considering Demons within herstory, we start empowering our Others; they are us, we are them.” Her/Tongue makes space for borderline language. It presents the unreadable and unspeakable text as an open dialogue in living-space where the woman tongue thrives. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890239182-1AM42DQA6X4RV3CQADHW/1_150dpi.jpg Her/Tongue - Cronelogista Yarn, plastic, thread, leather, cock feathers, snake hide, salt, oil, water, candles, silver bells, leather, aluminum, glass. 70” x 78” (Rug 5' ft diameter) 2018 White Couch Press Release: The politics of speech is a game of gender, identity, suppression, and power. Chiara No has dedicated her craft, art, and life to reclaiming the woman tongue within a patriarchal language (American-English), feminizing the components of language-structure itself. This exhibition presents a culmination of hidden woman-worlds wherein the feminine is accessed through personalized ritual and presented as an imanently unreadable text. Sewn and edited books, personal objects, and a saturday-summoning rug will be displayed alongside the artist’s unbounded, suggestive instructions on the use of the magic circle. In 1692 Cotton Mather’s book Ornaments for the Daughters of Zion, Or The Character and Happiness of a Vertuous Woman was published in Boston. In this he wrote that a woman should "Be careful [not to] Speak too soon… And be careful that you don't Speak too much" because “'tis the Whore, that is Clamorous, and the Fool, that is Full of words." The Salem witch trials were perpetrated that same year, under the auspices of Cotton and his father, Increase Mather. The language and ideology of Anglo-American men has shaped this nation. Chiara No responds directly to the groundwork for suppression, abuse, and murder laid out by Cotton Mather and the Anglo-misogynist mindset, utilizing the Madonna-Whore complex as a base for exploration and reinterpretation. Whores, Witches, demons, and fools are the protagonists of No’s language and art. No-language is a polysemic inversion, a demolition, of Anglo-American patriarchy. Chiara No states that her work “wrestles with a primal repression, human to woman... The circle becomes conical as my research descends into the body politic of the past’s demons towards today’s other… The heretic, the witch, the mentally ill, the sexually and gender oppressed are all historically politicized bodies known as Demons. By considering Demons within herstory, we start empowering our Others; they are us, we are them.” Her/Tongue makes space for borderline language. It presents the unreadable and unspeakable text as an open dialogue in living-space where the woman tongue thrives. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890296936-LB62OZOU2KERSRXLYFTY/3_150dpi.jpg Her/Tongue - Cronelogista Back detail 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890270981-V9IKFE337EEO7M3H0OGR/2_150dpi.jpg Her/Tongue - Cronelogista Installation view 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543891363522-ATHWXIUM3MQJ1SWK43V5/7_150dpi.jpg Her/Tongue - Her/metic Library A selection of sealed books and a reading desk 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890386995-LDLBI5IUP57VAP31HM17/4_150dpi.jpg Her/Tongue - Her/metic Library Detail 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890946542-4S2LE1OTU02W1LFMWIQ9/6_150dpi.jpg Her/Tongue - Her/metic Library A selection of sealed books, artifacts and vessels filled with objects of purpose 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543891558760-OG3BNB7FTL7E061KZBDY/8_150dpi.jpg Her/Tongue - Shrunken Balls cow hide. 3” diameter x 18” 2018 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1543890398709-YZD4OLPA66VUX88I5OS1/5_150dpi.jpg Her/Tongue Installation view 2018 http://www.chiara-no.com/skinnings daily 0.75 2025-10-20 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595830221-ZG6M3Q0K18BJ6C6XMNYR/003.jpg Skinnings - Top Cock used black t-shirt, bleach, waxed thread, black denim, steel hooks, rusted nails 2019 78 x 36 x 7 in. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595830221-ZG6M3Q0K18BJ6C6XMNYR/003.jpg Skinnings - Top Cock used black t-shirt, bleach, waxed thread, black denim, steel hooks, rusted nails 2019 78 x 36 x 7 in. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578596024781-8UQ9JHKQGYZM11TGVT13/ExLover4_Detail2.jpg Skinnings - Top Cock Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513490738-EBBVYWRTN7905ED42G8F/05+Chiara+No.jpg Skinnings - Praise the Whore Steel, bleach, ink, safety pins, leather 71” x 49” x 37” (size of metal frame, t-shirt is adult large) 2021 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513538025-5VA7LQSNQYGKRJYK1CM4/IMG_9725.jpg Skinnings - Praise the Whore Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513507017-PTYJ0KW7R2T77467R3UD/IMG_9827.jpg Skinnings - Praise the Whore Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595827699-04GBV5278RKDWZ0MSUIO/002.jpg Skinnings - X used black t-shirt, bleach, safety pins, steel hooks, rusted nails 2019 8'x6'x5' https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595949600-SJ40T23K5LOEKA6XYUW7/ExLover3_Detail3.jpg Skinnings - X Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595959300-91HWEUUV6VH6FJOG054N/ExLover3_Detail4.jpg Skinnings - X Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513488711-L4S8XZK95H7JXND9MXCO/04+Chiara+No.jpg Skinnings - The Wild Hunt Steel, bleach, ink, safety pins, leather, acrylic paint, thread 71” x 49” x 37” 2021 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513485445-WNNBCJ187OEX0G0EJVCV/01+The+WIld+Hunt.jpeg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513484549-WB1M6OWG286AIPIRXW9A/02+The+WIld+Hun.jpg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513486214-68WGGJXKHEF3CS282C1F/03+The+Wild+Hunt.jpg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513488167-IRIE43G703KFPGPUMSH3/04+The+Wild+Hunt.jpg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513490950-OFUJGRVDVSJBP9A5ZGWB/05+The+Wild+Hunt.jpg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636513492254-WRCS7BGLQMQC7W3J7B85/06+The+Wild+Hunt.jpg Skinnings - The Wild Hunt Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595831878-GNPNIEM050SG91K1OMK7/001.jpg Skinnings - XX used Heavy Metal t-shirts, bleach, waxed thread, steel hooks, rusted nails, stainless steel jewelry 96 x 84 x 72 in 2019 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595934646-0HDY3V2PVO1L0OIMLS7E/ExLover1_Detail1.jpg Skinnings - XX Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578595927710-OI41O1H2B69PZC1DT70D/ExLover1_Detail.jpg Skinnings - XX Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1604947112215-2BMZ0LHDM6DTYAPMXJA7/BlackOne+copy.jpg Skinnings - Black One bleach on a size medium black jersey t-shirt, dyed human hair, linen 2013 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1578596296005-DFZGAMR8YYCBJEU8W1BG/IMG_4707.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1604947118735-C0UT3N7X21HK0V30PDRJ/InstallationView+copy.jpg Skinnings - (Left to Right) Black One Bleach on a size medium black jersey t-shirt, dyed human hair, linen 2013 Flight of the Behemoth Bleach on a size medium black jersey t-shirt 2013 Angel's Alter Bleach on a size medium black jersey t-shirt, synthetic hair 2013 Pleasure and Pull Bleach on a size small black jersey t-shirt, denim, waxed thread 2013 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1604947114769-ABM94D10SCP05DAYWJD3/Crowning+copy.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1604947123482-K79X5I14Y0OMDH4P9L7U/installationView3+copy.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1604947124536-7HPACKID3C0W1HNAGJF9/InstallationView2+copy.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514150414-ZUELONA8NYCRA6WEVU2Y/XXs5_sideview.jpg Skinnings - Evangelika Amerikkka Used Heavy Metal t-shirt, bleach, waxed thread, steel hooks, rusted nails 77 x 45in. (approx.) 2020 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514149878-CTK8W72TE0I4GTVDMNMZ/XXs5_assholedetail.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514136618-75M6L01WCLI6I1HLSNXJ/XXs5_sidedetail.jpg Skinnings https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514308551-ELMFIIJU35677DSZDR82/XXs4_300dpi.jpg Skinnings - ...he should have listened. used Heavy Metal t-shirt, bleach, waxed thread, steel hooks, rusted nails 82 x 60in. (approx.) 2020 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514192174-GE0BAZN7P28QDX8PYWDC/XXs4_detail2.jpg Skinnings - ...he should have listened. Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1636514192663-21WMGIV1E21XO952FXXK/XXs4_detail1.jpg Skinnings - ...he should have listened. Detail http://www.chiara-no.com/babies-and-bullets daily 0.75 2022-07-06 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1656958016120-JVNLQAZYFVHB8RHRZH60/image-asset.png Babies, Bullets and Lies - Jayland Walker 7 seconds is the time that lapsed that put 60 bullets in his back 60 9mm Glock bullets in his back, in Jayland Walker's back. 2022 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1656958016120-JVNLQAZYFVHB8RHRZH60/image-asset.png Babies, Bullets and Lies - Jayland Walker 7 seconds is the time that lapsed that put 60 bullets in his back 60 9mm Glock bullets in his back, in Jayland Walker's back. 2022 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1655129381172-TYJZQD1HJXM2GXYE65T2/Chiara+No_When+it%27s+a+crime.JPG Babies, Bullets and Lies - When it's a crime. clothes hanger and wire, 41 x 63 x 3 in., 2022 Your honor, women have an equal right to liberty under the Constitution and if they're not able to make this decision—if states can take control of women's bodies and force them to endure months of pregnancy, childbirth and rearing then they will never have equal status under the Constitution. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1655129412419-7PAHFFZ5I2QNGK52H9PU/Freedom_04+small.jpg Babies, Bullets and Lies - ...sweet land of liberty. clothes hanger, 51 x 28 x 3 in., 2022 Your honor, for much of American history, placing a child for adoption was compulsion, not a choice, for single women. Up until 1970, more than three million young pregnant women were coerced to surrender their newborns to a closed adoption system that they could neither understand nor resist. The shortage of the “domestic supply of infants” as stated by Justice Samuel Alito is due to a fact that after 1970, being a single mother, though not ideal, was not and still is not as socially stigmatizing and these mothers were not forced to give up their babies. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1655129403656-IJEIEAQN0KT14NRCYPZ9/Freedom_01+small.jpg Babies, Bullets and Lies - Detail of ...sweet land of liberty. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1656341418215-J7BVGBY8FHRUISA8A6A7/ChiaraNo_WhiteLies+copy.jpg Babies, Bullets and Lies - White Lies (flag) This 40x60in. flag was made in response to the national release of a video on May 5, 2020 of the murder of Ahmaud Arbery that happened on February 23, 2020. The flag was finished that Labor Day, May 25, 2020—the day George Floyd was murdered. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1656341687104-32C5LM4FJMLNKUQ7VSPH/ChiaraNo_WhiteLiesFlier.jpg Babies, Bullets and Lies - White Lies (flyer) Free printable flier to be printed out at https://www.printedmatter.org/catalog/56367/ http://www.chiara-no.com/2024 daily 0.75 2025-06-14 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735321490107-7521590ZM5NXCVKVSEGI/01.jpg 2024 - Loner with Hag, Irix and Spinster (Self) Loner (Rug) yarn, snake skin, faux snake skin, cow leather with hide, brass, fire agate, waxed thread, steel grommets, iron oxide stained oak; 51" x 4" x 62" Loner is loosely based on the stories of Hekate, who is clever and a healer, who holds the torch to the way for others, and who is not domesticated and is associated with wolves, the original Lone Wolf. But also thinking about the historical loner—those who live on the edge of society either by nature or by other circumstances. I was also thinking about the loner archetype in literature or movies like in Charlotte Bronte’s novel, Jane Eyre, who’s namesake is independent and self-actualized, the title character in Toni Morrison’s Sula who is singular, intelligent, and refuses to be confined to gender or racial norms in a more prejudicial era and fiercely brillant Lisbeth Salander in The Girl With the Dragon Tattoo Trilogy, to name a few. I call them in. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735321490107-7521590ZM5NXCVKVSEGI/01.jpg 2024 - Loner with Hag, Irix and Spinster (Self) Loner (Rug) yarn, snake skin, faux snake skin, cow leather with hide, brass, fire agate, waxed thread, steel grommets, iron oxide stained oak; 51" x 4" x 62" Loner is loosely based on the stories of Hekate, who is clever and a healer, who holds the torch to the way for others, and who is not domesticated and is associated with wolves, the original Lone Wolf. But also thinking about the historical loner—those who live on the edge of society either by nature or by other circumstances. I was also thinking about the loner archetype in literature or movies like in Charlotte Bronte’s novel, Jane Eyre, who’s namesake is independent and self-actualized, the title character in Toni Morrison’s Sula who is singular, intelligent, and refuses to be confined to gender or racial norms in a more prejudicial era and fiercely brillant Lisbeth Salander in The Girl With the Dragon Tattoo Trilogy, to name a few. I call them in. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735321543346-XQT81B0P6Q8O74FK6PYO/Hag_150_01.jpg 2024 - Hag steel, hawthorn, hawthorn berries, cotton, wax; 16 x 8 x 42 in. Hag comes from the Greek word, hagia (ἅγιος) meaning holy woman or wise women. The earliest known use of “hag” as a derogatory word is the 13th century but was rarely used until the 16th century. The Old English word, hægtesse, once was a powerful supernatural woman thought to have carried a hawthorn branch. Hawthorn and hag have the same etymological roots and haw- the prefix of hawthorn, is related to hedge. From the online etymological dictionary I use and because I could not write it any better than their entry: "Later, when the pagan magic was reduced to local scatterings, it might have had the sense of "hedge-rider," or "she who straddles the hedge," because the hedge was the boundary between the civilized world of the village and the wild world beyond. The hægtesse would have a foot in each reality. Even later, when it meant the local healer and root collector, living in the open and moving from village to village, it may have had the mildly pejorative Middle English sense of hedge- (hedge-priest, [hedge-witch]etc.), suggesting an itinerant sleeping under bushes. The same word could have contained all three senses before being reduced to its modern one." By the 16th century, “hag” became a synonym for “fairy.” And in Britain, the New Year’s festival was called Hagmena—the festival by this name was first recorded in 1443 in Yorkshire but in due time, the clergyman insisted that for those who celebrated Hagmena meant they were under the devil’s influence. Today, hag denotes a cartoonishly old, poor, ugly, witchy woman who is to be afraid of. In making this carpet beater, I hope to revitalize hag and her story. On Carpet Beaters: Like my Spinster series, I am interested in how writing is a form of drawing and drawing can be sculpture. My carpet beaters focus on the corruption of words. The head of each carpet beater is a drawing of a word that had been maligned or co-opted from its original meaning. I use the handle as an opportunity to tell more of the story of the word through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s truth. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717188125213-7LWXKGIKHU16EIRG772O/IMG_9862.jpg 2024 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717188024530-KT12JF63SJG6757C99KG/Hag_150_02.jpg 2024 - Hag Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735321593117-IEEM0J2WP4D2RLBEWND2/Loner+with+Irix.jpg 2024 - Idol (Irix) underglaze on stoneware, waxed thread, 23kt gold leaf; 4 x 6.5 x 6 in. Irix, on the ceramic piece on the shelf is a functional bell based on the Christian demon Irix. The Christian demon Irix has associations with hawks and falcons. Because of this and its spelling, I believe it could be the demonization of the Greek Goddess Iris, the Egyptian Goddess, Isis or a mythical place in Slavic folklore called Iriy—all three have associations with hawks or birds. Ringing this bell to ring redresses this demon's origin story. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735321887892-5GTPB66NHGWA14I1BLTS/6.jpg 2024 - Detail with Spinster (Self) madder dyed line, cotton and wool spun thread; size is varible. In current form roughly 18 × 68 × 8 in. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322080293-VOHP8IX7DBPEVYFSFVRR/7.jpg 2024 - Detail of flame in Loner In this photo, you can see other materials sewn into the rug like brass sequins and fire agate with the yarn. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322192474-UG22ENVO96OABV0YQ8PF/Other+Purple+5mb.jpg 2024 - Other (rug) yarn, wool, steel and other diverse things; 6' x 7' x 8" My rugs call on archetypal identities. The rug in this grouping is called Other. This rug can be worn like a jacket. The rug hugs those who are othered and brings inside those who are out. *This rug was began in 2023 but I altered it to this current and final form in 2024. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322265613-5KOTH9XIRF3K0VH0V2O5/Other+Purple+150+07.jpg 2024 - Detail of Other In this photo, you can see other materials sewn into the rug like recycled tin sequins, aluminum bells with the yarn. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322201201-B2C1NW1U3PLN00FLDTEW/Other+Purple+150+03.jpg 2024 - Baal steel, goat foot, wood, hemp, burlap, red ochre 42 x 12 x 5 in. 2023 The top carpet beater is named after the ancient Canaanite God of fertility, Baal and considered one of the most important gods of that time. During this same time period, baal was used as an honorific like “lord” and “owner.” With the rise of monotheistic religions, Baal became a Christian and Hebrew demon, Baal, demonized and is the root word for the famed demon, Beelzebub. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322230400-595W7MZ0MQ7XQ9HBVRIR/Other+purple+300+copy.jpg 2024 - Styrax steel, wood, black storax; 43 x 14 x 7 in. The bottom carpet beater is for the demon 'Styrax' which could be the demonization of the resin storax which was used in protective folk magic and as ink in occult writing dating as far back as the medieval period in European history. Using the carpet beaters to clean the rug redresses these demons' origin story. The dagger to the left of Styrax is a damascus steel blade with a roe deer antler that has been handled by hands covered with white caulk paint. This dagger was make in collaboration with a bladesmith, Nick Anger. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322282264-YFOHLD43OF939AR38RNX/Other+Purple+150+06.jpg 2024 - Detail of Styrax https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717187964772-KKFRGGFI0NDQOPY6C25G/Klothod_150_01.jpg 2024 - Idol (Klothod) underglaze on stoneware, waxed thread 9.5 x 6 x 10 in Video of the bell ringing can be found on Vimeo. Before I got into demons, I was into goddesses and particularly groups of goddesses like The Moirai, the Norns, the Parcae, and the Pleiades. For this demon, the Fates in Greek mythology are the point of interest. They are Clotho, also spelled Klotho, who spins the thread for a person’s life and her sisters, Lachesis, who sews or weaves that person’s life and Atropos, who cuts the thread causing death in that life. There is also a demon named Klothod. The earliest found reference to Klothod, the demon, is in the Testament of Solomon. This text only exists day through its copies and translations but it is believed by scholars that the Testament could have been begun as early as the 1st century ADE and finished sometime in the Middle Ages. I used three different translations of the text. In two of the translations, one from author F.C. Conybeare from the Jewish Quarterly Review, 1898 and the other, D.C. Duling’s translation, The Old Testament Pseudepigrapha, 1983, Klothod is mentioned as their name—“The Third: I am Klothod, which is battle.” Whereas in the other text, the James Charlesworth translation, The Old Testament Pseudepigrapha from 1999, Klothod is not mentioned by name but as Fate—“The third said, “I am called Fate. I cause every man to fight in battle rather than make peace honorably with those who are winning.” I am not a scholar on any histories, the occult, or demonology. I am an artist who tries to think outside the box of accepted research. I find it notable that contemporary demonologists, occultists and scholar’s have not linked Klothod the demon to Klotho or Clotho of the Three Fates in Greek mythology. The similarities are obvious. On Bells: Bells as toys: My bells are formally and structurally based on the Boeotian bells from the Geometric period of Greece’s history. Archaeologists have found broken but only two complete simple terracotta female presenting bells with geometric patterns painted in black and fragments of possibly nine other bells. It is strongly suggested that these bells with their human genitalia are associated with cult rituals used to indicate the presence of a deity or deities. Some scholars believe these simple bells to be votives of toys associated with the Orphic myths regarding Dionysos. According to the Orphic myths, the Titans lured Dionysos to his death by enticing him from safety with the offer of toys. Spinning tops and bells are often included in the list of objects used by the Titans. Others scholars consider them to be just toys, labeling them “bell-shaped dolls” and not linking them to Dionysos or other deities. From my understanding and research, these terracotta bells were found all together in one location in Boeotia, Thebes and nowhere else in ancient Greece or Rome. Because of this, some scholars believe two things: first, they think one person made them for personal reasons and secondly, they are more crudely made and painted in comparison to the pottery of the time, meaning the creator had the access to the tools but was not an artisan. Moreover, bronze and iron bells have been known to be in circulation at the time but not in the form of a human figure like the Boeotian bells. It is also unclear to me if the bells were found alone with the other mentioned “toys” like the spinning tops but they are commonly lumped together in contemporary writings. Bells as sacred-secular object: My bells are thematically based on their sacred-secular significance in western histories. Bells are commonly associated with time, mystical happenings, and communications with deities, ancestors and the supernatural for thousands of years. In the Christian era, bells signified the arrival of the Holy Spirit and to announce the times of worship. Magical powers were attributed to the church bells especially because of their positions, hanging from the steeple between heaven and earth—the passage between worlds. And by the bell’s thunderous toll, it was believed that it scared away demons. In Hinduism, the ghanta are hand bells that are hung or placed at the temple entrance. Devotees would ring the bell while entering into the sanctum in order for the devotee to inform the deity of their arrival. The sound of the bell is considered auspicious which welcomes divinity and dispels evil. In Witchcraft and Wicca, the ringing of a bell tonally cleanse the ritual space as well as call in and out for the deity or ancestor. Particularly, my bells draw from the redressing of Christian and Abrahamic demons. If today, we demonize the other and they demonize us. Who and what was demonized in the past to create the demons still referenced in some religions? My bells slip into syncretism—by us ringing them, they open a passage between worlds; by us ringing them, they know we are here; by us ringing them, we can tell their stories. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717187940235-K74OYIN9E6XSXU866KGF/Iriy_150.jpg 2024 - Idol (Irix) underglaze on stoneware, waxed thread, 23kt gold leaf; 4 x 6.5 x 6 in. Video of the bell ringing can be found on Vimeo. Irix is only mentioned in one grimoire, Buch Abramelin. This book was penned in German between 1387 and 1427 by Abraham von Worms. The author’s name is long thought to be a pseudonymous figure and it has been nearly conclusively proved by scholars to be the well-known 14th century Jewish scholar, Rabbi Jacob ben Moses ha Levi Moellin, and more commonly known as MaHaRIL. This German book seems to be lost to time and we only know about its existence through its French translation from 1750. The 1750 translation of the text has rested virtually untouched in the Bibliothèque de l'Arsenal in Paris until 1893, when it was stumbled upon and translated into English by the famed co-founder of The Golden Dawn, Samuel Liddell MacGregor Mathers in 1898, renaming the book, The Sacred Magic of Abramelin the Mage: As Delivered by Abraham the Jew Unto His Son Lantech. In the French translation, Irix is merely a single word entry, its name, in a subchapter, The Servitors of Magoth and Kore from chapter 19 in the chapter, A Descriptive list of the Names of the Spirits whom We may summon to obtain that which We desire and fear. The Mathers translation goes a step further with an amendment to the chapter of his hypothesis to the meanings of each demon in Notes to the forgoing List of Names of Spirits. He suggests that the name Irix derives from Greek, hawk or falcon. Using a Greek-English dictionary from 1910 and a Greek Lexicon with words from the Roman era published in 1914, I could not corroborate Mathers’ translation. However, since I am not fluent in Greek or ancient Greek or anything really, I am going to go with Mathers’ hawk or falcon suggestion. In using that limited framework, clearly Irix derivative of Isis, the Egyptian goddess of healing and magic, and Iris, in Greek mythology, she is the personification of a rainbow, the halo to the moon and the messenger of the gods and possibly, a little known mythical place in Slavic folklore called Iriy where “birds fly for the winter and souls go after death.” Isis and Iris are goddesses described and commonly depicted with bird-like wings and Iriy, a place associated with birds and death. I am not a scholar on any histories, the occult, or demonology. I am an artist who tries to think outside the box of accepted research. This correlation between Irix and Isis, Iris, and the neitherworld, Iriy, is only speculative on my part. Albeit, to me it is too obvious of a connection if relying on Mather’s translation. It still surprises me how demonic scholars and modern occultists have no problem correlating popular Roman and Greek gods and goddesses to demons but seem to not even scratch the surface of more obscure demons and their mythological origins even when they are so similar in spelling and description. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717187933113-3CTR6FLU70E9L7B3VLOQ/Gemory_150_01.jpg 2024 - Idol (Gemory) underglaze on stoneware, 23kt gold leaf, waxed thread; 4.5 x 6.5 x 5.5 in Video of the bell ringing can be found on Vimeo A few grimoires of the period mention Gemory, also spelled Gremory and Gomory. The first found recording of Gemory is in Johann Weyer’s Praestigiis Daemonum (1563). This book is a rebuttal of sorts against the hateful witch hunter's handbook, Malleus Maleficarum (1487), by Heinrich Kramer. Using Joseph Peterson’s translation from 2000, Gemory is a strong and mighty duke that appears as a fair woman, wearing a crown and riding a camel. They have the ability to see the past, present and future, find hidden treasure and can procure the love of women. Gemory used he/him pronouns. Gemory is also mentioned with little alteration in Reginald Scot’s The Discoverie of Witchcraft (1584) except to include that Gemory is considered a fiend—as in an Incubus and Succubus and could be of either sex. They are also mentioned in the Goetia of Dr. Rudd is also known as Goetia:The Lesser Key of Solomon. The earliest known copy of the Goetia of Dr. Rudd from 1641 but contemporary occult scholars believe that this copy of an older book about 350 to 400 years earlier. The demon, Gemory, is a part of the group of demons I call: The Demons I Want on my Team, for lack of a more catchy title. Sometimes there is just nothing to tie the demon to anything but a larger historical discriminatory practice or trend, like the demonization of homosexuality in Christian Europe. Years ago I came across this scholarly essay, “The Demons' Reaction to Sodomy: Witchcraft and Homosexuality in Gianfrancesco Pico della Mirandola's "Strix" by Tamar Herzig in The Sixteenth Century Journal. The essay lays out specifically the demonization of homosexuals in sixteenth century Italy. She lays out how medieval theologians stressed demons’ disgust at sodomy but by the fifteenth century, theologians of the time began to connect sodomy and homosexuality with the expanding crime of witchcraft. By the sixteenth century, demons were homosexuals and homosexuals were demons. This transition in views began to shape some demons’ characteristics in writings of the time to resemble how queer culture of the European Middle Ages shamed, vilified and criminalized that community. Gemory, Gomory, Gremory is the sixteenth century demonization of the Other—the Other being a cross-dressing, drag, queer and/or trans person/s. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717187911700-LR4Z1LHVT8VYD1XVBR71/Carnax_150_01.jpg 2024 - Idol (Carnax) underglaze on stoneware, waxed thread 6 x 4 x 8.5 in Video of the bell ringing can be found on Vimeo. Sometimes a demon is not the villainization of a person or deity but of a tool of war held by the enemy, the Other—in this case, the Other being the Celts and the Gauls. In war, these tribes would use a Iron Age battle horn called the carnyx to bellow a scream that struck fear when heard by the Romans and later, the Christians. The carnyx was as tall as a person with an animal shaped head, often a boar but a dragon, stag or bull’s head have been found. It was intended to inspire soldiers and terrify enemies on the battlefield. It was also used as a festive instrument on high holidays and there are references to this particular horn during the Iron Ages as far as Egypt, Turkmenistan and India. At archaeological sites, carnyxes have been found as far as Eurasia. There is also a demon named Carnax, also spelled Carmox. The demon first appears in Liber juratus Honorii, . a medieval grimoire supposedly written either by Honorius of Thebes, son of Euclid—who scholars presumed to be mythical—or by Pope Honorius I of the seventh century ADE. The date of this composition is uncertain but the first certain historical record is the 1347 trial record of Étienne Pépin from Mende, Gévaudan, in the Kingdoms of France and Navarre. Additionally, Johannes Hartlieb (1456), physician of Late Medieval Bavaria, mentions it as one of the books used in necromancy. The oldest preserved manuscript dates to the 14th century and is currently housed in the British Library. The first printed publication of this manuscript did not appear until 1629. In the two English translations I found, one by the Daniel Driscoll’s and the other Joseph Peterson (1998), Carnax is similarly described as Their nature is to cause war, and plague, murder, treason, and burnings; they also temporarily give one thousand soldiers with their servants, which are two thousand, and they grant death; they also grant sickness or health to anyone. These is also a physical description given—horns like a stag, nails like a griffin with a howl like a mad bull. One thing is clear in each translation, Carnax is a demon for war. From my research into debunking “real” demons, it is not surprising that the ancient war horn and festival instrument, the carnyx, used by the Celts and Gauls was demonized by Christains. I am not a scholar on any histories, the occult, or demonology. I am an artist who tries to think outside the box of accepted research. This correlation between Carnax with carnyx is only speculative on my part. Albeit, to me it is too obvious of a connection and I have yet to find any occult scholars or modern demonologists comparing or equating the two but to me. I ring this bell, Carnax, to redress this possibly lost history and connection. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717187947555-QZFA3GBFUYTLWTC6Z0SU/Ischiron_150_01.jpg 2024 - Idol (Ischiron) underglaze on stoneware, waxed thread; 6 x 4 x 6 in Video of the bell ringing can be found on Vimeo. Ischiron was first identified in the magickal book, Buch Abramelin, penned in German between 1387 and 1427 by Abraham von Worms. The author’s name is long thought to be a pseudonymous figure and it has been nearly conclusively proved by scholars to be the well-known 14th century Jewish scholar, Rabbi Jacob ben Moses ha Levi Moellin, and more commonly known as MaHaRIL. This German book seems to be lost to time and we only know about its existence through its French translation from 1750. The 1750 translation rested virtually untouched in the Bibliothèque de l'Arsenal in Paris until 1893, when it was stumbled upon and translated into English by the famed co-founder of The Golden Dawn, Samuel Liddell MacGregor Mathers. He published the translation in 1898, renaming the book, The Sacred Magic of Abramelin the Mage: As Delivered by Abraham the Jew Unto His Son Lantech. In the French translation, Ischiron is merely a single word entry, its name, in a subchapter, The Servitors of Magoth and Kore from chapter 19 in the chapter, A Descriptive list of the Names of the Spirits whom We may summon to obtain that which We desire and fear. The Mathers translation goes a step further with an amendment to the chapter of his hypothesis to the meanings of each demon in Notes to the forgoing List of Names of Spirits. He suggests that the name Ischiron derives from Greek meaning strong or mighty. From my translations: Ισχυρων (Greek)= Ischyron (Greek in latized letters) = strong ones (English translation) and ισχυρός (Greek) = Ischyrós Greek in latized letters) = mighty (English translation). I lay out my translations because in the past (reference the demon Irix) I could not substantiate Mathers translation where with “Ischiron,” I could. Ischiron is also referenced in the Elizabethan grimoire, The Book of Oberon (1577), author/s unknown, and is spelled Ischiros here. In my opinion, this text comes across as an heretical Christian text using demons, angels and faeries for conjuring and prayers. Using the 2015 translation by Daniel Harms, James R. Clark, and Joseph H. Peterson, little is mentioned about Ischiron themselves but Ischiron is named as a protector of sorts. From a prayer in The Book of Oberon: Prayers against all worldly dangers The apostle Saint Thomas and Leonard 30 wrote to Charles, king of France, saying: "Whoever wears these names on himself cannot be harmed by their mortal enemies, nor will he be able to harm them. And note, this writing contains a name Agla, a name of Christ, and it is said that whoever sees, speaks, or carries it, will not die an evil death that day, and if any sick person wears it around their neck, they will enjoy health, and a pregnant woman who ties it over her stomach will be free of pain. (p.64) It continues with a long list of names that include the Father, Son and Holy Ghost to a listing of earthly elements and Ischrios with the footnote by the authors of the 2015 translation, Ischrios: Gk. “mighty”. Now in Greek Mythology, there is a very important and the most famous centaur named Chiron who is the son of the Titan, Cronus and the Oceanid, Philyra. Unlike other Centaurs who were violent and savage, Chiron was renowned for his wisdom, knowledge of medicine, strength and bravery. Many Greek heroes were tutored by him including Achilles, Aeson and Hercules to name a few. And to make a long Greek story short, Chiron was immortal through his father, Cronus. Chiron relinquished his immortality to save Prometheus from a prolonged tortured imprisonment for the crime of giving humans fire. Zeus, taking pity on Chiron's sacrifice, decided to honor him by immortalizing him in the constellation Centaurus. The earliest found recording of this constellation is by the 2nd-century astronomer Ptolemy. Before the spread of Christianity, Chiron was invoked to aid with divinations, athletics, tutoring, nursing and healing, hunting, music, the sciences, literature, everything wise. Chiron was mighty and strong. I am not a scholar on any histories, the occult, or demonology. I am an artist who tries to think outside the box of accepted research. This correlation between Ischiron and Ischiros with Chiron is only speculative on my part. Albeit, to me, the connection is clear. It surprises me how demonic scholars and modern occultists have no problem correlating popular Roman and Greek gods and goddesses to demons but seem to not even scratch the surface of more obscure demons and their mythological origins even when they are an established western named constellation. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1718633567904-V4L09EAAXIELYHUCVCF4/Kobal_150_01.jpg 2024 - Idol (Kobal) underglaze on stoneware, waxed thread, recycled glass beads; 6 x 7 x 8 in Video of the bell's ringing can be found on Vimeo From several grimoires and magical books, the demon Kobal is also known as the “Masters of the Revels.” In my research, Kobal could be the demonization of kobaloi who were mischievous sprites from Greek mythology. Or and could be related to the Kobold from German folklore, a sprite-like goblin and hobgoblin.* More interestingly, Kobal, kobaloi, and kobold could be a root word for the element, cobalt. Chemistry professor Allan Blackman, from Auckland University of Technology in New Zealand labeled cobalt “the goblin of the periodic table.” From his writing, Cobalt, a metal-like ore, was found and named Kobold by miners in 16th century Saxony who thought they found deposits of silver but actually found cobalt arsenide. It was “discovered” by science by Georg Brandt in 1739. Cobalt, the element is toxic to humans. Studies have shown that the risk of birth defects, such as limb abnormalities and spina bifida, greatly increased when a parent worked in a cobalt mine along with causing cancer. Sixteenth century science knew little to nothing about cobalt and the health effects. After mining cobalt over a short period of time, the miners probably quickly knew something was wrong health-wise but did not have the knowledge to understand that their work was causing their illness in their homes. Blaming their homes over work for their woes, created the house goblin, colloquially called Kobold or Kobal. In turn, decades later having these miners introduce this “rock” to Brandt, he kept the name Cobalt. *A hobgoblin is a mischievous house imp or sprite. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322597735-DAKYA90ONJOF1CXNOYIA/spinster01.jpg 2024 - Spinster (I wish, I want, I will, I must) strips of clothing, steel 5.5ft x 6ft x 2ft Me, the spinster—an unmarried childless person.⁣ But also, the word, spinster, originally a neutral term for a tradeswoman’s occupation originating in the mid-1300s meaning ‘a woman who spins for a living” and who could make a living without having a husband or father. And the demon Klothod, first identified in text from the third century ADE, who is the demonization of the goddess Clotho, one of the three Fates in Greek mythology, who spins the thread of one’s life, therefore, a spinster. On Spinster: ‘Spinster’ functions as a mediation on language—both as I am spinning the rope, spinning the rope onto the walls and letting my eyes spin in contemplating what I am writing. This project specifically focuses on how a historical phrase that still resonates today and how past stories can be manipulated for present uses.I The needle lends itself to be a drawing tool leaving the thread as its mark. This work writes as drawing and draws as sculpture with the title of each wall drawing functioning as the key to its language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322627063-JMM69GS676SXPCJYR4XJ/Spinster+I+gave+birth.jpg 2024 - Spinster (I gave birth, but did not bring a child to life) strips of clothing, steel; 90 x 96 x 24in.⁣ “I was pregnant, but unable to bring my child to term; I gave birth, but did not bring a child to life. May a woman who grants me success release me. May I have a straightforward pregnancy.” is part of a larger incantation written in cuneiform on a tablet from Mesopotamia—roughly 2000-1500 BCE. This incantation is part of a set of directions on how to banish the Mesopotamian demon, Lamashtu, eater of fetuses and killer of mothers and have a healthy child and survive pregnancy. ⁣ This incantation reverberates through the millennia to today in the United States and many parts of the world where theological laws supersedes medical advancements in Obstetrics. I draw these words with my needle and thread for pregnant people.⁣ https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1735322745096-0P929A9PWHOM99RZWH5W/01+I+saw+with+150+dpi+copy.jpg 2024 - Spinster (I saw with my own eyes)⁣ strips of clothing, steel⁣; 70 x 90 x 20 in.⁣ One of my favorite books that I have read or listened to over and over again is Michael Crichton’s Eater of the Dead which lead me to read the English translation of Ahmad ibn Fadlan’s Risala, the personal account of his journey north into Volga Viking territory from his home, Baghdad, in the 10th century—Crichton book is more of a loose translation with some literary devices to make ibn Fadlan’s account read more like a novel. But in many of Crichton’s scenes that use ibn Fadlan words, there are no major edits. ⁣ In saying all of that, this piece is not about this favored story but more about the repetitive “I saw…” statements in the translation and novel, specifically “I saw with my own eyes” and “I saw nothing with my own eyes.” ⁣And reflecting thru drawing how that seeing and witnessing is recorded and biases cast. In much of this years work, I think about how the past connects us with the present to remember how we tell our stories for the future. http://www.chiara-no.com/2023 daily 0.75 2025-06-14 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190722826-91DNV8J6W8URA7NA1EWE/01.jpg 2023 - Otherling with Wryd and Exteron Otherling yarn, hand felted wool, industrial wool blend felt, tin sequins, seashell, metal bells, wax thread 60 x 60 x 8 in. Wryd Steel, blackberry dyed cotton rope 16 x 42 x 9in. Exteron glaze, underglaze on stoneware, wax thread 10 x 10 x 14 in. *Wryd and Exteron are more throughly explained on their page. Otherling is a latch hooked coat. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on shoulders. In this piece, I was thinking about how changeling myths were actually stories of adults and children with mental illness, disability or were neurodivergent. These legends were society’s attempt to make sense of a child with a disability by providing a coherent explanation for the appearance of a different child in a family. I came across an article by Dr. José R. Alonso who has a PhD in Neurobiology about the fairy tales about changelings and autism, where he speculates: "The changes of the changeling are as much physical, in its appearance, as in its behaviour. They are characterized by their poor response, resistance to physical affection, obstinacy, inability to express emotions, unexplainable crying and some physical changes such as rigidity and deformity. Some are unable to speak. Some characteristics of these stories, such as the initial health and beauty of the human child, the change after some period of “normalcy” and the specific behaviors of the changelings correspond to the symptoms in some presentations of autism." I use Otherling to consider what other fairy tales stories were used to explain away the birth of disabled or neurodiverse children in non-scientific cultures. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190722826-91DNV8J6W8URA7NA1EWE/01.jpg 2023 - Otherling with Wryd and Exteron Otherling yarn, hand felted wool, industrial wool blend felt, tin sequins, seashell, metal bells, wax thread 60 x 60 x 8 in. Wryd Steel, blackberry dyed cotton rope 16 x 42 x 9in. Exteron glaze, underglaze on stoneware, wax thread 10 x 10 x 14 in. *Wryd and Exteron are more throughly explained on their page. Otherling is a latch hooked coat. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on shoulders. In this piece, I was thinking about how changeling myths were actually stories of adults and children with mental illness, disability or were neurodivergent. These legends were society’s attempt to make sense of a child with a disability by providing a coherent explanation for the appearance of a different child in a family. I came across an article by Dr. José R. Alonso who has a PhD in Neurobiology about the fairy tales about changelings and autism, where he speculates: "The changes of the changeling are as much physical, in its appearance, as in its behaviour. They are characterized by their poor response, resistance to physical affection, obstinacy, inability to express emotions, unexplainable crying and some physical changes such as rigidity and deformity. Some are unable to speak. Some characteristics of these stories, such as the initial health and beauty of the human child, the change after some period of “normalcy” and the specific behaviors of the changelings correspond to the symptoms in some presentations of autism." I use Otherling to consider what other fairy tales stories were used to explain away the birth of disabled or neurodiverse children in non-scientific cultures. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192650207-9FZFCK3270ZD6ZPEIQ9I/06.jpg 2023 - Exteron with Otherling Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190810881-866MUD7WWR9VVV3LDI7A/04.jpg 2023 - Exteron glaze, underglaze on stoneware, wax thread 10 x 10 x 14 in. Video of the bell ringing can be found on Vimeo. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192673996-2HR2Q83U1IN4LISFN0OQ/IMG_9807.jpg 2023 - Otherling Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192714316-04C8DSJDN9423PTWMQ1M/Hethatia+LG+04.jpg 2023 - Otherling Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717191391150-OU1878IL1FF4X58QDF65/Wyrd.jpg 2023 - Wyrd steel, blackberry dyed cotton rope; 16 x 42 x 9in. Wryd is an Old English noun word for ‘destiny.’ In Middle English it transitioned into a verb meaning ‘having the power to control destiny.’ By the 16th century, wyrd was more commonly spelt weird possibly due to the popularity of Shakespeare's Macbeth and his portrayal of the characters, The Weird Sisters, where he portrayed these characters as frightening old witches. It is speculated that this is when the word weird began to be associated with odd and unearthly rather than fate and destiny. Moreover, the portrayal of the Weird Sisters in 18th and 19th century theatrical productions of it truly solidified the adjectival meaning of weird as odd, uncanny, strange and disturbingly different. In making this carpet beater, I hope to call attention to wryd and weird. On Carpet Beaters: Like my Spinster series, I am interested in how writing is a form of drawing and drawing can be sculpture. My carpet beaters focus on the corruption of words. The head of each carpet beater is a drawing of a word that had been maligned or co-opted from its original meaning. I use the handle as an opportunity to tell more of the story of the word through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s truth. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717191391203-GF9AYGGEKGGFDCE6QHPV/Wyrd+small.jpg 2023 - Wyrd Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190556780-JEPN52DVTPUR58R31JZS/Amaimon+bell_5mb_04.JPG 2023 - Klimax #1 with Amaimon Klimax #1 cedar, pulverized brick 41 in. x 2 in. x 13 ft. Amaimon glaze and underglaze on stoneware, pulverized brick, sulfur, waxed thread 15 x 15 x 18 in. *More imformation of Amaimon on its own page. I am drawn to words with surprising [to me] etymologies. The ancient Greek word for ladder is klimax (κλῖμαξ), climax in Latin. Klimax was also a torture device dating back to Greek antiquity and popularized in the European Middle Ages. By the 1580s, climax began to be associated with rhetorical reason. And to climax as in sexually was first recorded in 1880 but I have yet to find the actual recording but the year 1880 is historically known to be the beginning of the Progressive era in Europe and America where it began to be seen as a societal benefit to have sex education for children to adults as a early form of birth control. also, when having the opportunity, I show my work in groups encircled with a pulverized substance relating to the location of the installation. The pulverized substance in this documentation is a single brick found on the property of Bemis Center of Contemporary. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190519817-669VMJ0VLGWIR1SVQC81/Amaimon+bell_5mb_03.JPG 2023 - Amaimon Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190529670-SMG1ZEFC275K1JB4EXM5/Amaimon+bell_5mb_02.JPG 2023 - Amaimon Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1718640740840-IMTY79AK6FAVSY2F0ZXJ/10a.jpg 2023 - Amaimon glaze and underglaze on stoneware, pulverized brick, sulfur, waxed thread 15 x 15 x 18 in. Video of the bell ringing can be found on Vimeo. Amaimon—whose name is spelt differently in different grimoires, Amaymon, Amaymone—seemed to be first identified in the magickal book Buch Abramelin, penned between 1387 and 1427 by Abraham von Worms. Amaimon also appeared in the appendix of Pseudomonarchia Daemonum, written by Johannes Wierus in 1563. Here, the demon is said to present as an old man who bestows titles and teaches philosophy and the Ars Notoria, a 13th-century magical book. With more decorative language, The Book of Oberon, 1577, expands on Weirus' explanation of Amaimon but adds little. In Regional Scot’s, The Discoverie of Witchcraft, 1584, he adds to Amaimon’s description, a dangerous, putrid breath and fiery or poisonous breath. It is here where Amaimon finally caught my eye. Simply, could Amaimon be the demonization of ammonia? Amaimon being an anagram for ammonia. Ammonia is known for its pungent odor and is poisonous. And before standardized spelling, ammonia was also spelled with a -y instead of an -i among other variations of the spelling in middle English (mid 12th c. to late 15th c.), armonyas, armonyak, amonya, etc. Ammonia became the standard spell by early modern English which fits the timeline of the various writings. No occult scholar has yet to make that connection. In early human cultures, fermented human and animal urine was used for cleaning clothes and surfaces, mordant for dying as well as many other household duties. Based on European historical accounts, and mainly what I read in Silivia Frederici’s Caliban and the Witch, women in the middle ages were responsible for the fermentation of many liquids—beer for drinking and urine for cleaning. During the middle ages and renaissance, it was also common to demonize aspects of women’s chores and tools in order to further marginalize their place in society. Additionally, ammonia was and is also a common ingredient in both alchemical work and in spell work and specifically protection spell work. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190644214-KK74PMWRWHLZ1EHS5NEL/Storax5mb_04.jpg 2023 - Storax steel, wood, black styrax 43 x 14 x 7 in. The fairy Styrax, who seems to be associated with the Fey King, Oberion/Oberon/Oberyon—spelling is dependent on the text. They were first referenced in the 12th century, in existing but unnamed writing. The first appearance in existing writing of the demon Storax was by the Priest James Richardson in 1444. Storax, the demon, is expanded upon in another unnamed grimoire from 1577 that, only recently, scholar’s named The Book of Oberon. In the 2015 translation of The Book of Oberon, the researchers hypothesized that this book may have influenced some of William Shakespear’s plays, specifically “A midsummer’s Night Dream” and the character of Oberon, who is king of the fairies in the play, is who is named as a demon in the book[The Book of Oberon]. In the body of The Book of Oberon, storax—lower case—is first referenced both as the name of a resin based incense used in rituals as well as a colorant for ink used in spell writing. Later in the book, Storax—proper noun—is referred to as a demon who aids in the calming Demon Lord Oberon from dread and fear. Storax and Oberon are never referred to as a fairy or fey in the actual body of The Book of Oberon. It is likely that Storax, the demon, could be the demonization of the resin and magical ink. For millenniums, this resin was used in rituals and as an ink only to be used for sacred writing, as mentioned in the The Book of Oberon, in both in poly- and monotheistic religions, and definitely used by occultist, alchemist and Pagans from the European Middle Ages—all groups of people at one point cased as witches by the 16th century. Going back to Shakespeare, maybe he could have lifted Storax from The Book of Oberon for another character—the witch Sycorax, unseen character in William Shakespeare's play The Tempest(1611). She is a vicious and powerful witch, cast away to the island where the play takes place, and is the mother of Caliban, one of the few native inhabitants of the island on which Prospero, the hero of the play, is stranded. I always try to be careful about how much presentism I put onto the past but I came across a quote by the poet Kamau Braithwaite: "[Sycorax is] a paradigm for all women of the Third World, who have not yet, despite all the effort, reached that trigger of visibility which is necessary for a whole society." Sycorax's silent role plays an important part in postcolonial interpretations of The Tempest. Because she is native to Algiers and her story is only heard through others (Prospero, Ariel, and Caliban), she is championed by some scholars as a representation of the silenced African woman. I have not dug into this because this could be Shakespeare borrowing or appropriating from another source other than The Book of Oberon. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190644262-EBO9SLVT3ZFVMT3V4QCC/Storax5mb_01.jpg 2023 - Storax Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190661036-UXN52Q0Y64B8PL2NLQNP/Tyros5mb_01.jpg 2023 - Tyros steel, iron, glass, wood 39 x 13 x 2 in Tyros is a demon from the Abrahamic religions who teaches the arts of divination using scrying mirrors. There is no direct or indirect connection between this demon and a real person, place, animal or thing. I made this carpet beater anyways because I find I have a growing interest in the correlation between the practice of soothsaying, having prophetic visions and other pursuits related to destiny with demonology and the act of demonizing. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190661101-WOPHKO6F361N8GSIIFSZ/Tyros5mb_02.jpg 2023 - Tyros Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717191447418-RNSLNYFYU3PLTBK8X3GD/Mermo_5mb1.jpg 2023 - Mermo underglaze on tinted porcelain 8.5 x 4 x 8 in Video of the bell ringing can be found on Vimeo. Mermo was first identified in an important magickal book penned in German between 1387 and 1427 by Abraham von Worms originally titled, Buch Abramelin. This German book seems to be lost and we only know about its existence through its French translation from 1750. In 1898, it was translated into English by Samuel Liddell MacGregor Mathers in 1898, renaming the book, The Sacred Magic of Abramelin the Mage: As Delivered by Abraham the Jew Unto His Son Lantech. In the French translation, Mermo is merely a single word entry, its name, in a subchapter, The Servitors of Ashtaroth and Asmodues from chapter 19 in the chapter, A Descriptive list of the Names of the Spirits whom We may summon to obtain that which We desire. The Mathers translation goes a step further with an amendment to the chapter of his hypothesis to the meanings of each demon in Notes to the forgoing List of Names of Spirits. He suggests that the name Mermo from the Coptic word mer means “across”, and moou meaning “water” so by his interpretation Mermo means “across water.” I did my best to corroborate that coptic translation but to unsatisfying results—I do not think mer means across in coptic but moou does mean water. If I am trying my best to correct Matters’ rationale, mer did mean sea in Old French and derives from the Latin mare—sea or large body of water—and in Proto-Indo-European, móri, means body of water. In The Dictionary of Demons by Occult scholar Michelle Belanger, she suggests with seemingly no evidence that Mermo could be a reference to the Greek goddess Hecate who by the middle ages became the patron of Witches. By Belanger’s rationale or other scholars they are referencing—In the famous third century writing, Philosphumena, Hippolytus writes: "But he manages that a fiery Hecate should appear to be flying through the air thus : Having hidden an accomplice in what place he wills, and taking the dupes on one side, he prevails on them by saying that he will show them the fiery daemon riding through the air. To whom he announces that when they see the flame in the air, they must quickly save their eyes by falling down and hiding their faces until he shall call them. And having thus instructed them, on a moonless night, he declaims these verses: Infernal and earthly and heavenly Bombo, come. Goddess of waysides, of cross-roads, lightbearer, nightwalker, Hater of the light, lover and companion of the night, Who rejoicest in the baying of hounds and in purple blood ; Who dost stalk among corpses and the tombs of the dead Thirsty for blood, who bringest fear to mortals Gorgo and Mormo and Mene and many-formed one. Come thou propitious to our libations!" And that’s it. In my opinion, as much as I want Mermo to be associated with Hecate—this is not sufficient enough to merit even a passing suggestion. But at the same time, I have used the rationale of “just a different spelling” to justify the re-imagining of other demons. So maybe this is just a spelling change over the centuries. From these other scholars, I could make that all make sense in my head but instead, I did further research and found information that makes more sense to me. In Middle English, which was spoken after the Norman Conquest of 1066 until the late 15th century,translation of the Middle Gaelic word for mermaid or merman, Merrow (Middle Gaelic: murúch translated to Middle English: merrow). The Irish and Scottish with some of the last holdouts of the Celtic culture which was Pagan and polytheistic. So maybe Mermo is the demonization of a Merrow? This with some of Matters etymological suggestions seems like a possibility of a new narrative to me. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717191435282-GNXE3574U0GDPBU6W6KR/Mistalas_150.jpg 2023 - Mistalas glaze and underglaze on tinted porcelain, brass, waxed thread 4 x 6 x 11 in. Video of the bell ringing can be found on Vimeo. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190600994-2GV7Q477KXHMM3E56FGW/Bedsheet+ladder_5mb_04.jpg 2023 - Klimax #2 cotton bedsheets, pulverized brick 5 x 5 x 14 ft. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190601139-OYTECMOLISSXXN4SI59J/Bedsheet+ladder_5mb_03.jpg 2023 - Klimax #2 Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190602096-EKSU5UGS4DY07B2U2P8D/Bedsheet+ladder_5mb_02.jpg 2023 - Klimax #2 Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190628020-0RYR4YT4EXFLAWEC0GLO/Baal5mb_02.jpg 2023 - Baal steel, goat foot, wood, hemp, burlap, red ochre 42 x 12 x 5 in. Voices that once cried out your name, Silenced by the winds of change. Are not our fates all cast? No. a memory of you still remains, In the soil, fires, air and rain Justice for Baal Put your hunger to rest The god, Baal, was worshiped in many ancient Middle Eastern communities, especially among the Canaanites, He has Mesopotamian origins, specifically from the Akkadian Empire (2334-2218 BCE). He was the god of fertility deity and considered one of the most important gods of that time. During this same time period, baal, in Hebrew meant “lord” and “owner.” like an honorific you put before a name. The worship of Baal was also popular in Egypt from the later New Kingdom in about 1400 BCE to its end 1075 BCE. The ideological struggle presented in the Old Testament between the worship of Baal and the worship of Yahweh paved the way for Baal to be demonized in later Adrahamic culture. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190628100-OP07HH5DJPRDAS8LRP91/Baal5mb_03.jpg 2023 - Baal Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190847137-N8K3KJOWLAZDJ4UMEKQ3/01.jpg 2023 - Klimax #4 (at night) Klimax #4 Found driftwood, Block Island Sound seawater 9 ft x 4 ft x 4 in Klimax #4 was located at Race Point, Fisher Island, NY. It lasted about two weeks before the tided took it back. In the past few residencies, I have been making site specific ladders as apart of my Klimax series. This work is not directly relation to my demon work and research but sometimes its nice just to make something becasue you need to :). Klimax(κλῖμαξ) is the ancient Greek word for ladder, climax in Latin. Klimax was also a torture device dating back to Greek antiquity and popularized in the European Middle Ages. By the 1580s, climax began to be associated with rhetorical reason. And to climax as in sexually was first recorded in 1880 but I have yet to find the actual recording but the year 1880 is historically known to be the beginning of the Progressive era in Europe and America where it began to be seen as a societal benefit to have sex education for children to adults as a early form of birth control. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190847379-NJPO8CICKTS3KVSZG45K/02.jpg 2023 - Klimax #4 (at late dusk) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190849377-Q3SQXMMVCWHEEKJDN6OY/03.jpg 2023 - Klimax #4 (at dusk) https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717190849688-ER96AIQ5Q2KLTW2G43HY/10.jpg 2023 - Klimax #4 (in the afternoon) http://www.chiara-no.com/2022 daily 0.75 2024-10-14 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192473187-R4QV8PINIO8XQ039U7FG/Small+Red.jpg 2022 - M/other yarn, cow leather, cow teeth, hematite, red ochre, red brick powder made from a Drury Brick Co, a Vermont brick company in acrylic matte medium, waxed thread, vinyl 66 x 66 x 2 in. M/Other represents families that are not blood. The rug visualizes a gateway towards temporary worlds within the ordinary world. The white circular frame symbolizes the salt used in these protection circles. The pulverized substance is a brick made by Drury Brick Co, a Vermont brick company. I live in Vermont. If I do not have access to something that can produce a powder from something found in the location where the work is being displayed, my second option is using something from the location of the production of the work. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192473187-R4QV8PINIO8XQ039U7FG/Small+Red.jpg 2022 - M/other yarn, cow leather, cow teeth, hematite, red ochre, red brick powder made from a Drury Brick Co, a Vermont brick company in acrylic matte medium, waxed thread, vinyl 66 x 66 x 2 in. M/Other represents families that are not blood. The rug visualizes a gateway towards temporary worlds within the ordinary world. The white circular frame symbolizes the salt used in these protection circles. The pulverized substance is a brick made by Drury Brick Co, a Vermont brick company. I live in Vermont. If I do not have access to something that can produce a powder from something found in the location where the work is being displayed, my second option is using something from the location of the production of the work. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192530586-6VB24T3NAZZSG9D9T1O6/02.jpg 2022 - M/other Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193239388-S0YY0G72PBWK0C6GHYNJ/11.jpg 2022 - Naigutly Steel, goat horn, kyanite, amethyst, cotton 13 x 38 x 3 in. On Carpet Beaters: Sometimes the hidden world reveals itself without any magic circle to serve as a boundary. The carpet beaters, bells and a needle with thread are all not quite pure nature, not quite supernatural and maybe unnatural. They are manifestations of the hidden world revealed in our world. I hope these works lead us to ask whether there is a history hidden within history and what is a new take on history(1).* Now let's think of the magic circle as defined with the rugs—not as a circle but as a game or a playground where magic and the occult happen upon. Think of Marlowe’s The Tragedy of Doctor Faustus (1593) and how tools, both of the natural world and secular-sacred objects, are used to play the game of magic(2). My carpet beaters are secular-sacred objects that are a play on a broomstick and a magic wand. When I started making my rugs, I started looking into how rugs were cleaned before technology. Truth be told, I was poking around a local antique store, came across a wall of antique metal carpet beaters, I bought two of them and the rest is history. I was already into occult writing and developing my own sigilic** writing. I turned the head of a carpet beater into a sigil and used the handle as an opportunity to tell more of the story of the sigil through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s name. **A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a deity or spirit (such as an angel or demon). In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. It is a hidden language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193293900-VZ2XR3TS7M03RJJP2OAD/12.jpg 2022 - Apolin Steel, goat's horn, lady fern, burdock, patchouli root, cotton, wax 13 x 38 x 3 in. On Carpet Beaters: Sometimes the hidden world reveals itself without any magic circle to serve as a boundary. The carpet beaters, bells and a needle with thread are all not quite pure nature, not quite supernatural and maybe unnatural. They are manifestations of the hidden world revealed in our world. I hope these works lead us to ask whether there is a history hidden within history and what is a new take on history(1).* Now let's think of the magic circle as defined with the rugs—not as a circle but as a game or a playground where magic and the occult happen upon. Think of Marlowe’s The Tragedy of Doctor Faustus (1593) and how tools, both of the natural world and secular-sacred objects, are used to play the game of magic(2). My carpet beaters are secular-sacred objects that are a play on a broomstick and a magic wand. When I started making my rugs, I started looking into how rugs were cleaned before technology. Truth be told, I was poking around a local antique store, came across a wall of antique metal carpet beaters, I bought two of them and the rest is history. I was already into occult writing and developing my own sigilic** writing. I turned the head of a carpet beater into a sigil and used the handle as an opportunity to tell more of the story of the sigil through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s name. **A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a deity or spirit (such as an angel or demon). In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. It is a hidden language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192257738-YYOR3RYDCJZ5KZUQPSUK/Saranyu_150.jpg 2022 - Saranyt underglaze, vinyl paint, waxed thread on stoneware 7 x 4 x 6in. Video of the bell ringing can be found on Vimeo. The demon Saranyt earliest found recording is in the Elizabethan book called The Book of Oberon (1577), the author/s unknown. According to its writings: “He can raise dead men, and cause them to take again their own shape, and to speak with men. He can teach one the seven arts or sciences liberal, and he appears like an ass with a woman's face.” I thought nothing of this entry until I came across a passing mention of the Hindu Goddess Saranyu in the “Infinity sign” entry in The Women’s Dictionary of Symbols and Sacred Objects (1988): “...Some said it was the mark [the infinity sign] of the twin gods known as the Sons of the Mare (Asvins), born of the Goddess Saranyu who took the form of a mare [a female horse]…” (pg. 10) And in Gertrude Jobes, Dictionary of Mythology, Folklore and Symbols (1962), the entry “Saranyu” states: “Hindu goddess [Saranyu] of the morning light. Daughter of Tvastr. By Vivasvat mother of the Asvins and the primeval twins Yama and Yami. She assumes mare form and disappears.” (pg 1400) It also seems like the author/s or The Book of Oberon conflated Saranyu with one of her twin children, Yama, who becomes the King of the Dead. According to Hindu Myths (1975) by the acclaimed scholar of Sanskritand Indian textual traditions, Wendy Doniger, she translates a story “Yama rejects Yami” from the Rig Vega, the oldest known Vedic Sanskrit text. In one of her explanatory footnotes, Doniger writes: “He [the the original text] may be Yama. If it is Yama, then the ocean may be the metaphorical ocean separating morals from immortals.” (pg 63) Receiving immortality is one way to raise the dead in their mortal form and voice. Major trade routes between India and Europe were well established by the 16th century. It was and still is today very common to demonize what we dislike, detest or want to vilify. The Christian demonization of the Hindo goddess, Saraynu, is straightforward. What surprises me is that I have yet to find any contemporary sources, including Michelle Belanger’s 2015 The Dictionary of Demons, or just any sources that make this leap. I did find a reprint of 1879 book, Demonology and Devil-lore by Moncure Daniel Conway, an 19th century American abolitionist and radical writer, where Conway writes: “But the descriptions of the Erinyes by the Greek poets—especially of Æschylus, who pictures them as black, serpent-locked, with eyes dripping blood, and calls them hounds—show that Saranyu as morning light, and thus the revealer of deeds of darkness, had gradually been degraded into a personification of the Curse.” (pg 8) Two things—first, Conway never recounts Saranyu's story from Rig Vega where it is actually Saranyu’s shadow double, Sanjna, that curses Yama’s foot. And secondly, Conway links Saranyu, the morning light, to Lucifer, the morning star: “The fabled ‘fall of Lucifer’ really signifies a process similar to that which has been noticed in the case of Saranyu. The morning star, like the morning light, as revealer of the deeds of darkness” (pg 19) Though Conway was living in London while writing Demonology and Devil-lore, Conway clearly did not know about The Book of Oberon and Saranyt and what I have explained in the above text. But that's ok, Demonology and Devil-lore seems to be an epic 774 page attempt to find links between the divine in non-abrahamic religions and their demonization. On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells. Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192225698-I8WZWQC1TYJP4HW04LYD/JandG_150_5mb.jpg 2022 - Jambex&Garsone underglaze, vinyl paint, raw pearls, waxed thread on stoneware 9 x 7 x 4in. (bell only) Video of the bell sound can be found on Vimeo The demons Jambex and Garsone first appear in the Elizabethan grimoire, The Book of Oberon (1577), author/s unknown. I used the 2015 translation by Daniel Harms, James R. Clark, and Joseph H. Peterson. Jambex is called upon in love magic. He prefers to appear in a female form and is skillful in compelling the love of men. Garsone is noted in the grimoire to be a “good and true spirit.” They are called upon to help find treasure and can reveal divine secrets. When they manifest, they assume the form of a man. There are centuries old grimoires that describe, in so many words, gender fluid, queer presenting demons. Sometimes there is just nothing to tie the demon to anything but a larger historical discriminatory practice or trend, like the demonization of homosexuality in Christian Europe. Years ago I came across this scholarly essay, “The Demons' Reaction to Sodomy: Witchcraft and Homosexuality in Gianfrancesco Pico della Mirandola's "Strix" by Tamar Herzig in The Sixteenth Century Journal. The essay lays out specifically the demonization of homosexuals in sixteenth century Italy. She lays out how medieval theologians stressed demons’ disgust at sodomy but by the fifteenth century, theologians of the time began to connect sodomy and homosexuality with the expanding crime of witchcraft. By the sixteenth century, demons were homosexuals and homosexuals were demons. This transition in views began to shape some demons’ characteristics in writings of the time to resemble how queer culture of the European Middle Ages shamed, vilified and criminalized that community. Jambex and Garsone are the sixteenth century demonization of the Other—the Other being a queer, gender-fluid, and trans person/s. On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192306682-SFXGPI1UA3L1NBJ1GX1K/No_Chiara_Yellow+Moon+Kore_2023.jpg 2022 - Yellow Moon (Kore) underglaze on stoneware, waxed thread 13.5 x 3.5 x 3.5 in. video of the bell sound can be found on Vimeo Her ringing invokes the philosophess of the Underworld bearing knowledge of time. Her yellow moon lights the three ways—that has been, that is, and that will be. She is inspired by Kore, also known as Persephone, Queen of the underworld, Goddess of spring, the dead, the underworld, grain, and nature. Cults of the earth goddesses— whether Kore, Persephone, Demeter or Gaia—have been noted in many ancient and modern texts to be the most popular and longest-formed cult of ancient Greece and Rome that continued well into the Medieval era of Europe. In the ancient western world, the Cult of Kore was well established in Alexandria, Egypt and carried great influence in the Coptic religions. For example, her high festival, the Koreian, was celebrated on January 6th—a date so important to this group of people that it was assimilated to Christianity as the feast of Epiphany in order to persuade pagans to Christianity(1). In a 1978 translation of the gnostic text titled Nag Hammadi, found in Egypt, that dates back to the 4th century ADE states: Now the creator has control in the place that is between the earth and heaven. He is called Zeus, that is, life. Plutonius Zeus is lord over the earth and sea. And he does not possess the nourishment for all mortal living creatures, for [it is] Kore who bears the fruit. Many prominent symbols are associated with Kore. Two specifically, the pentacle and the apple, are ancient symbols so ubiquitous among religions, orders, sects and groups from around the world and through the millennia that it seems to belong to everyone at one point. For the pentacle, many scholars believe its commonness is due to its prevalence of five-pointed forms in nature. The apple’s association with Kore is surprising. One of the reasons is that when you cut an apple transversely to reveal the seeded core*, it is in the shape of a five-pointed star—the pentacle. By the Medieval period of Europe, Christianity which was the majority religion, still had a hard time rooting out all the Kore and Persephone cults, hence, Christians began to malign common Pagan symbols like the pentacle as satanic and associated with witchcraft, and tying the apple to the forbidden apple in Genesis in the Bible or in later centuries the poisonous apple in the Brothers Grimm, Snow White and other folklore. Also by this period, Kore, herself, along with Persephone, were denigrated to demons. According to the magical book, Buch Abramelin, penned in German between 1387 and 1427 by Abraham von Worms, Kore specifically became direct subordinates to Satan and Lucifer(4). Kore is also mentioned in two other texts. The first in Les Farfadets(1821) by the Frenchman Alexis-Vincent-Charles Berbiguier where Kore is called the queen of Hell. The second, Collin de Plancy’s Dictionnaire Infernal (1844) calls Kore, called Persephone here, the “sovereign princess of evil spirits” and suggests her name means to crawl like a serpent and her “ interpreters see in her the fatal serpent.” *Some etymological experts believe that core could have derived from the goddess Kore but there is no proof of this, just speculation. On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192121681-UI0BS7MEU61X56HQWXCD/abraxas18+300dpi.jpg 2022 - Abraxas underglaze on stoneware, waxed thread, mother of pearl 13 x 5 x 5 in. video of the bell sound can be found on Vimeo Abraxas is a composite being. They appear as a man, often armored, with legs of a serpent and head of a cock. They carry a whip in one hand and a shield in the other. Their appearance is similar to a charioteer and in some descriptions, they appear the be riding a four horse chariot—each horse representing the four elements. In Gnostic mythology, Abraxas is said to have the body of a serpent with a lion head surrounded by ray like those of the sun, an image that seems to harken back to the Persian sun god said to share the same name. On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192180750-5U6LHYIPCOAADFARZA6Y/adraxas20.jpg 2022 - Abraxas Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192140581-EOQLQNS8S822TIS5E8G4/Biddy19.jpg 2022 - Biddy underglaze on stoneware, waxed thread 13 x 4.5 x 4.5 in. video of the bell sound can be found on Vimeo Biddy was a 17th c. nickname, a cutesy name for Brigid or Bridget and was used in referring to the Goddess Brigid. Though I could not find any direct link, I think it’s interesting that “Biddy” is also a derogatory word for a woman, especially an elderly one, regarded as annoying or interfering. According to some etymology sources, the negative “Biddy” emerged in the late 19th century. Maybe this link began during the later life of Biddy Early, an Irish herbalist and healer of the mid 19th century who was accused of witchcraft in 1865 by local landlords and the priesthood for her insightful ways of helping the poor and sick. Her trial for witchcraft was so sensational that newspapers across Europe and America reported on it. She was the last person to be put on trial for witchcraft in Ireland and she was found innocent. Maybe because of her notoriety in some circles and her elderly age during the trail, Biddy Early may be the namesake for the derogatory term, biddy. On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192191185-3SXOC272QMSW3TZLUOFZ/Biddy08.jpg 2022 - Biddy Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192155475-LC7MOUMDPXM2IL9298ZS/Diamater+small.jpg 2022 - Diamatar underglaze and glaze on pink porcelain, waxed thread 12 x 4.5 x 4.5 in. Sound of night Fire in the deep no shine on the horizon the old power Waking Up the Chaos Glacial cold Womb raider Waiting for the salt Rebirth mode video of the bell sound can be found on Vimeo On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192164617-NEVT5DEFYDV0F9EWPOGE/Diamater+06+small.jpg 2022 - Diamatar Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192274645-O5PE6RQ811OU6ZOHHYA8/silky20.jpg 2022 - Selky underglaze and glaze on teal porcelain, brass rings, waxed thread 9 x 7.5 x 4.5 in. break of day, a sea salted dive sealed like a lamb to the water, swallowing hole. video of the bell sound can be found on Vimeo On Bells: My bells are secular-sacred objects and are idols. Each idol bell is a demon as described in actual grimoires*** or the bible. I chose bells as a form because of their importance in religion and rituals of the past and present. Bells are associated with mystical happenings and communications with deities, ancestors and the supernatural. In ancient Greece, gods, goddesses and other spirits were painted onto terracotta bells(3). Ringing a specific bell summoned on that spirit to appear. Later in European history, Christianity turned these idol bells into objects associated with witchcraft used to call in demons and evil spectors—those same evils that were once our ancestors, gods, goddesses and daemons. Christians also altered the iconology and societal position of the bell by placing large metal bells on top of towers at churches to call for and announce the arrival of the holy spirit and to remind parishioners to come to church. Their bellows became the echoed protection for these holy angels during their travels between heaven and the church from demons. The invocation of my idol bells are a modern consideration of the animism one can experience in their ring—similarly to the intentions of the makers of ancient idol bells. The bells are named after the demon, not who or what is demonized. I choose to do it this way because in most religions, including Wicca (witchcraft), one is not supposed to call for demons because you will/could be possessed and all hell will break loose. I disagree. Some demons got a bad rap and those are the ones I am interested in. The demons I have researched, I have deemed, through said research, to be of a demonized person/s, thing, or supernatural therefore, I want to call out and call in for them. Demons are other people. ***A grimoire is a textbook of magic ("book of spells", "magic book", or a "spellbook"), typically including instructions on how to create magical objects like talismans and amulets, how to perform magical spells, charms, and divination, and how to summon or invoke supernatural entities https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717192284319-4JGLGL8N3ORPPDD5PTX2/Silky_small21.jpg 2022 - Selky Detail http://www.chiara-no.com/2021 daily 0.75 2024-06-17 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193476649-LY46TX27NJINNDOJ7ID3/Cuntformist.jpg 2021/2020 - Cunningform yarn, vinyl, acrylic paint, raccoon pelt, thread, salt, wood, wax candles, silver bells, incense 78 x 66 x 24 in. The rug is 5' in diameter. This rug represents the present. The rug collages elements found in performing magic circle rituals including occult writing. This rug holds raccoon pelts, silk velvet and silver bells all which are tools used for this summoning spell. The circle within an archway visualizes a gateway for the temporary world within the ordinary world. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193476649-LY46TX27NJINNDOJ7ID3/Cuntformist.jpg 2021/2020 - Cunningform yarn, vinyl, acrylic paint, raccoon pelt, thread, salt, wood, wax candles, silver bells, incense 78 x 66 x 24 in. The rug is 5' in diameter. This rug represents the present. The rug collages elements found in performing magic circle rituals including occult writing. This rug holds raccoon pelts, silk velvet and silver bells all which are tools used for this summoning spell. The circle within an archway visualizes a gateway for the temporary world within the ordinary world. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193476705-Z0PPP7RCRRHN1LHEFDUW/Detail_Cunt1.jpg 2021/2020 - Cunningform Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193477779-URNOF6MZ8M0GVAAZBXZV/Detail_Cunt3.jpg 2021/2020 - Cunningform Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193477943-3HBBXBXFQK8MIWFKWZ6E/Detail_Cunt2.jpg 2021/2020 - Cunningform Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193858202-BMGRWTKFK0I7TK21RB5D/01_Heretic.jpg 2021/2020 - Her/etic Yarn, cow leather, fake hair, nylon, silk poppies, thread, recycled plastic bags, salt, wood, wax candles, silver bells, incense, deer horn, bitterdock, mullein, globe thistle 78 x 66 x 24 in 2020 Her/etic rug represents the beginning, birth and rebirth. Heresy is to dissent or to contrary to the dominant doctrine. Heresy also can also spark a much desired change—ideas birthing ideas. It collages material elements and occult writings found in summoning rituals. The other elements found not on the rug, waxed bitterdock, mullein, globe thistle, silver bells, storax incense, and deer horn reference the story about the Stag Queen, Artemis. The circle within an archway visualizes a portal towards temporary worlds within the ordinary world. The white arch symbolizes the salt used in protection circles and salt connects the base of the arch to complete and enclose the circle. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193907873-X5WJ1ABVKOVOSHL5FEGG/03+Her_etic_detail.jpg 2021/2020 - Her/etic Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193926475-8UH1WWSZKH5EURD55EZS/Artemis1.jpg 2021/2020 - Artemis Steel, deer antler, blue vervain, hawthorn thorns, cotton, wax 15 x 40 x 9in. Artemis is early in my historical figure rehabilitation work. I was just starting to work with this idea that “Demons are other people” but I wasn’t quite sure how to begin researching and dismantling the notions of demons. Artemis is not equated to any demon but she was vilified in the Bible. The Fertility Cult of Artemis was defamed in the Bible in Acts 19, where Paul of Ephesus narrowly escaped “mob violence” at the hands of worshipers of Artemis. But basically what happened, Paul bashed the craftsmen who made and sold coins and trinkets with the image of Artemis on it. He, then, convinced large sums of people to stop buying the idol coins saying “gods made by human hands are no gods at all.” Acts 19:26-28 26 And you see and hear how this fellow Paul has convinced and led astray large numbers of people here in Ephesus and in practically the whole province of Asia. He says that gods made by human hands are no gods at all. 27 There is danger not only that our trade will lose its good name, but also that the temple of the great goddess Artemis will be discredited; and the goddess herself, who is worshiped throughout the province of Asia and the world, will be robbed of her divine majesty.” 28 When they heard this, they were furious and began shouting: “Great is Artemis of the Ephesians!” I stumbled upon this factoid while reading the footnotes of James Charlesworth's translation of The Old Testament: Pseudepigrapha. Artemis, according to Greek Mythology, is the virgin huntress of the wild and associated with the young of all living things, especially wildlife. Artemis is a many-breasted goddess housed in the Artemisium, one of the Seven Wonders of the Ancient World and she is the goddess of birth and patroness of hunting. On Carpet Beaters: Sometimes the hidden world reveals itself without any magic circle to serve as a boundary. The carpet beaters, bells and a needle with thread are all not quite pure nature, not quite supernatural and maybe unnatural. They are manifestations of the hidden world revealed in our world. I hope these works lead us to ask whether there is a history hidden within history and what is a new take on history(1).* Now let's think of the magic circle as defined with the rugs—not as a circle but as a game or a playground where magic and the occult happen upon. Think of Marlowe’s The Tragedy of Doctor Faustus (1593) and how tools, both of the natural world and secular-sacred objects, are used to play the game of magic(2). My carpet beaters are secular-sacred objects that are a play on a broomstick and a magic wand. When I started making my rugs, I started looking into how rugs were cleaned before technology. Truth be told, I was poking around a local antique store, came across a wall of antique metal carpet beaters, I bought two of them and the rest is history. I was already into occult writing and developing my own sigilic** writing. I turned the head of a carpet beater into a sigil and used the handle as an opportunity to tell more of the story of the sigil through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s name. **A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a deity or spirit (such as an angel or demon). In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. It is a hidden language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717193926436-N4CB6J98WZEKSRWAVF65/Artemis+detail.jpg 2021/2020 - Artemis Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717196694387-HTGGZFSB7OU2AGKDORDM/No_Chiara_nocte+bellator_2020+copy.jpg 2021/2020 - Milalu Steel, selenite 13 x 40 x 2in. Opaque darkness in a milky crystal, A dim journey changes. Altered thoughts and moving wills, we make all your decisions. On Carpet Beaters: Sometimes the hidden world reveals itself without any magic circle to serve as a boundary. The carpet beaters, bells and a needle with thread are all not quite pure nature, not quite supernatural and maybe unnatural. They are manifestations of the hidden world revealed in our world. I hope these works lead us to ask whether there is a history hidden within history and what is a new take on history(1).* Now let's think of the magic circle as defined with the rugs—not as a circle but as a game or a playground where magic and the occult happen upon. Think of Marlowe’s The Tragedy of Doctor Faustus (1593) and how tools, both of the natural world and secular-sacred objects, are used to play the game of magic(2). My carpet beaters are secular-sacred objects that are a play on a broomstick and a magic wand. When I started making my rugs, I started looking into how rugs were cleaned before technology. Truth be told, I was poking around a local antique store, came across a wall of antique metal carpet beaters, I bought two of them and the rest is history. I was already into occult writing and developing my own sigilic** writing. I turned the head of a carpet beater into a sigil and used the handle as an opportunity to tell more of the story of the sigil through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s name. **A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a deity or spirit (such as an angel or demon). In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. It is a hidden language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717196750585-4WEVV5ZR68VXJ8TN2JUM/w_rath+copy.jpg 2021/2020 - Rath Steel, pine, cow leather, waxed thread, wax, candles 13.5 x 40 x 2 in. On Carpet Beaters: Sometimes the hidden world reveals itself without any magic circle to serve as a boundary. The carpet beaters, bells and a needle with thread are all not quite pure nature, not quite supernatural and maybe unnatural. They are manifestations of the hidden world revealed in our world. I hope these works lead us to ask whether there is a history hidden within history and what is a new take on history(1).* Now let's think of the magic circle as defined with the rugs—not as a circle but as a game or a playground where magic and the occult happen upon. Think of Marlowe’s The Tragedy of Doctor Faustus (1593) and how tools, both of the natural world and secular-sacred objects, are used to play the game of magic(2). My carpet beaters are secular-sacred objects that are a play on a broomstick and a magic wand. When I started making my rugs, I started looking into how rugs were cleaned before technology. Truth be told, I was poking around a local antique store, came across a wall of antique metal carpet beaters, I bought two of them and the rest is history. I was already into occult writing and developing my own sigilic** writing. I turned the head of a carpet beater into a sigil and used the handle as an opportunity to tell more of the story of the sigil through the handle materials. I would like to think that with each swing of the carpet beater, the whoosh through the air is the whisper of the beater’s name. **A sigil is a type of symbol used in magic. The term usually refers to a pictorial signature of a deity or spirit (such as an angel or demon). In modern usage, especially in the context of chaos magic, a sigil refers to a symbolic representation of the practitioner's desired outcome. It is a hidden language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717274314844-YU4SL1ONHQNBXL682UKT/No%2C+Chiara_12.jpg 2021/2020 - Horas steel, oak, sweetgrass, yarrow, cotton, wax 18 x 40 x 2in. Young ones know where the yarrow grows While mothers’ hands carry sweetgrass strands And time trickles when the hag uses her sickle Horae were both known as Aphrodite’s nymphs and the Priestesses of the Hours. In ancient western societies, women were the time keepers and these women, the Horae, were also said to be the ones who trained men in sex. The women who kept time in ancient Persian were called Houris and Harines in Babylon. In the 1530s, hore began to be the slang for sex workers with the now common spelling, whore, appearing in the 1580s. The earliest known use of the derogatory term, in a variety of spellings, horan, hora, hor, was at least the 1200s. What I think is interesting is that most etymological dictionaries take whore back to the 12th c but rarely does it consider that whore could be derived from the Horas, Houris, and the Harines. I think this is another example of demonizing language. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717274315269-SUCK8QDJUE1Q9AZU9JAB/Horae.jpg 2021/2020 - Horas Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717197417341-HD7ZRLP1QIDQCYDRR8U0/Lure.jpg 2021/2020 - Lure underglaze on stoneware, acrylic, waxed cotton thread 9.5 x 4 x 4 in. 2021 Noctilucent dawn A distant, quiet stars lures Watching the water video of the bell sound can be found on Vimeo https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717197372860-GSDCHMACTQ0ZUFA30IMT/Lure15.jpg 2021/2020 - Lure Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717197448659-Q98XPGEU7PFYHKMM2MK0/the+green+man16.jpg 2021/2020 - The Green Man underglaze on lavender porcelain, waxed thread 8.5 x 3.5 x 3.5 in. Ring by one, all dangers from travel are gone Ring by twain, those who mean you harm are slain⠀⠀ Ring by thrice, it will need a sacrifice⠀⠀ But ring by four, everything is no more video of the bell sound can be found on Vimeo https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717197447988-LR30VUAC87S1JQ1UWRAQ/the+green+man10.jpg 2021/2020 - The Green Man Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1717197475636-MEN2XKYTMHMGGMNCFMH9/Lug+72dpi.jpg 2021/2020 - Lug underglaze on stoneware, waxed thread 13 x 5.5 x 6 in. Ring by one, all dangers from travel are gone. Ring by twain, those who mean you harm are slain.⠀⠀ Ring by thrice, it will need a sacrifice.⠀⠀ But ring by four, everything is no more. video of the bell ringing can be found on Vimeo http://www.chiara-no.com/about daily 0.75 2024-06-08 https://static1.squarespace.com/static/52b484c9e4b0d1c471ea2fa8/t/6664b16aedd14721b59d2dd0/1717875050577/ About My interview about my work taken at Bemis Center for Contemporary Arts, Omaha, NE in the summer of 2023. https://static1.squarespace.com/static/52b484c9e4b0d1c471ea2fa8/665ddd29cd2e2c71e0e5f3c7/665ddd896697136bfa9c8f61/1717875050577/ About My interview about my work taken at Bemis Center for Contemporary Arts, Omaha, NE in the summer of 2023. http://www.chiara-no.com/2025 daily 0.75 2025-08-25 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918180563-PY9QXM5M6Q4ZGV9AF350/Scholar+5mb.jpg 2025 - Scholar yarn, steel, slate, kranite, felt and other diverse things; 60 x 68 x 6 in. I planned out this rug last fall, I was thinking about historical scholars and knowledge seekers in western histories that were accused of heresy; I was thinking about how many demons I have come across in western esoterica that were called upon to gain knowledge in the sciences—biology, astrology, alchemy and anatomy; I was thinking about mythological spirits of knowledge, Hecate and Morgana, who were maliciously maligned, pushed aside for the rise of Christianity. I started knotting this rug as government websites were scrubbed and changed to remove references to inclusion, diversity, gender and as well as minorities and transgendered people, among other terms, in January; I knotted this rug as I watched the news of Columbia Univ. Grad student Mahmoud Khalil got ripped away from his pregnant US Citizen wife in March; I knotted this rug in April following the news about the current US administration attacking universities; I knotted this rug in May as I watched President Trump sign an executive order seeking to stop direct federal funding to NPR and PBS. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918180563-PY9QXM5M6Q4ZGV9AF350/Scholar+5mb.jpg 2025 - Scholar yarn, steel, slate, kranite, felt and other diverse things; 60 x 68 x 6 in. I planned out this rug last fall, I was thinking about historical scholars and knowledge seekers in western histories that were accused of heresy; I was thinking about how many demons I have come across in western esoterica that were called upon to gain knowledge in the sciences—biology, astrology, alchemy and anatomy; I was thinking about mythological spirits of knowledge, Hecate and Morgana, who were maliciously maligned, pushed aside for the rise of Christianity. I started knotting this rug as government websites were scrubbed and changed to remove references to inclusion, diversity, gender and as well as minorities and transgendered people, among other terms, in January; I knotted this rug as I watched the news of Columbia Univ. Grad student Mahmoud Khalil got ripped away from his pregnant US Citizen wife in March; I knotted this rug in April following the news about the current US administration attacking universities; I knotted this rug in May as I watched President Trump sign an executive order seeking to stop direct federal funding to NPR and PBS. On Rugs: If you think of my work as a family tree, my rugs are the parents to the carpet beaters, the bells, the needle and possibly future work. The rugs represent a more of an archetypal or totemic figure—the Whore, the Crone, the Warrior, the Mother and the Heretic, to name a few. I see rugs as objects of spatial transitions and a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Keeping in mind notions of the occult, the rugs take on the motif of the magic circle which, in itself, is a boundary but it is also more than that—it is a passage, a gateway, a portal between the natural and supernatural. The rug is not necessarily used to hide something from us but to reveal the hiddenness in the world, our world—the world-in-itself vs. the world-for-us. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918178908-F193VINVFSJ5B0PGUOU4/Detail+Scholar+5mb+01.jpg 2025 - Scholar Detail https://static1.squarespace.com/static/52b484c9e4b0d1c471ea2fa8/684da011173a2057cc66dd90/684da1ade67d506ee6294913/1755641710456/ 2025 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918180521-YG4DRVLW6ER90T67V7T2/Detail+Scholar+5mb+03.jpg 2025 - Scholar Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918178894-VVSFD343GEW4GNZTFUU7/Detail+Scholar+5mb+02.jpg 2025 - Scholar Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636040831-XN3L9V4G81TTYIS149M9/Lilith_5mb.jpg 2025 - Idol (Lilith) underglaze and glaze on stoneware, waxed thread; 8 x 7 x 10 in. Link to a video of Lilith ringing: https://vimeo.com/1112752762 Lilith—where to even f$!king begin. Lilith did not come from nothing—out of nowhere. The thesis to so much of my research, to what I want to learn, is establishing historical connections to how society demonizes, dehumanizes and formulates the monstrous in order to recognize how it is done today. If you haven’t noticed in my work, the etymologies of words is where I normally like to start. Lilith originated from the Sumerian lil- demons—lil- meaning ‘of the night.’ There are several lil- demons but the Lilu and Lilitu demons seem to be her origins. The earliest found cuneiform tablet mentioning these particular lil- demon was around 3000 BCE, in the Sumerian myth "Gilgamesh and the Huluppu Tree." Lilu eventually fades away from the myths and incantations after a millennia or so leaving Lilitu to roam the nights, giving men wet dreams and other minor ailments. The phonetic name "Lilith" begins to appear in writing as rabbis compiled and edited the Babylonian Talmud circa 500-600 CE. In the Talmud, Lilith is mentioned sparsely but it is clear that she is the Mother of Demons. Controversial in religious circles, it is thought that Lilith, though not directly in name, is mentioned in the Book of Genesis, the first book of the Bible—writen sometime between the 15th and 5th century BCE. the Book of Genesis is written in two parts. Part two contains the widely popular Adam and Eve story where God first makes Adam and then fashions Eve from Adam’s rib so that Adam would not be lonely and have a helper. PART ONE, however, clearly states that a male and a female were created by God in His own image at the same time and from the same earth—though contested, some religious scholars believe that woman was Lililth, Adam’s EQUAL. I’ll stop there. So so so so so sosososos much can be said about the misogynistic and monsterous telling and retelling of the story and history of Lilith. But for this post, I just focused on the origins of her name but I never knew about the lil-demons until recently. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755642291351-UI6L3OY63QNK49ZJLP24/Cosmos+5md.jpg 2025 - Cosmos steel, wood, mirrored glass, gold leaf, brass; 43 x 19 x 3 in. “[Capitalism] has stolen our cosmos and returned it in the form of Cosmopolitan magazine and cosmetics.” -Mary Daly; from Gyn/Ecology; 1978/reissued with new forward in 1990⁣ “Even before witchcraft turned into a profitable concept, we may consider that the cosmetics industry, in particular, had succeeded in exploiting an obscure nostalgia for magic found among many women, by selling them its pots and vials, its miraculous ingredients, its promises of transformation and its immersion in a world of enchantment.” -Mona Chollet; In Defense of Witches; 2022⁣ https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636088722-MRMBBUX0TY5HYMVR1KCX/Comsos+5md.jpg 2025 - Cosmos Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749927551993-F4OQQWUK5CNWECHSI6BI/Esther.jpg 2025 - Spinster (We are Esther) strips of clothing, steel, brass, pine⁣; 75 x 96 x 24in.⁣ Reclaiming Esther. With brevity, the Book of Esther is about a Jewish woman, Esther, who becomes Queen of Persia and ultimately, becomes the savior of the Jewish people from extermination. Esther's story has been repurposed by the Heritage Foundation in Project Esther. It uses antisemitic conspiracy theories with the false claim of ‘defending’ Jews as a thin veil to attack the Palestinian liberation movement while aggressively ignoring right-leaning antisemitism. Esther's womanhood has been reimagined by Christian Nationalists as an ideal woman who both engages in political action while remaining subservient to male authority around her. She has become a symbol for Moms of Liberty. Esther, reclaimed by Jewish feminists, uses knowledge and power, albeit, through her marriage, to become a fighter for Jewish survival because of, and not in spite of, her skilled navigation of gendered and sexualized institutions. On Spinster: ‘Spinster’ functions as a mediation on language—both as I am spinning the rope, spinning the rope onto the walls and letting my eyes spin in contemplating what I am writing. This project specifically focuses on how a historical phrase that still resonates today and how past stories can be manipulated for present uses.I The needle lends itself to be a drawing tool leaving the thread as its mark. This work writes as drawing and draws as sculpture with the title of each wall drawing functioning as the key to its language. On Spinster: https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755642085854-P18UOYCFFQ5YSEJ10HL9/Lilin+Lilu_72dpi.jpg 2025 - Idol (Lilitu and Lilu) underglaze and glaze on stoneware, raw pearls, waxed thread; 10 x 3.5 x 10 in. Four thousand or so years ago, between and around the Tigris and Euphrates rivers, in the rise of the ziggurats and the erection of a civilization, magical thinking guised as religion was well established. Here, we have Lilitu (female night spirit/s that visited mostly men) and Lilu (male night spirit/s that visited mostly women). These nocturnal spirits posed little danger to the soul or person but were known to cause a wet dream from time to time and definitely were blamed for an unwanted or surprise pregnancy. Over time, the Lilu faded from the stories leaving the Lilitu to be morphed over the millenia to what a male dominated society needed her to be. Link to a video of Lilth and Lilu ringing: https://vimeo.com/1112753092 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636105708-X0ZW8IFXOW7JVZVBSAI9/Gossip+5md.jpg 2025 - Gossip steel, beeswax, wool, glass, Pink Moon water; 42 x 15 x 5 in. Among the many things that have been written about gossip—its origins and cultural degradation—my recent favorite tidbit: Shakespear’s had a way of permanently diverting the path of words through the popularity of his plays and poems. For example, in contemporaneous written accounts of James VI of Scotland’s baptism, roughly 1566, Queen Elizabeth I was recorded as being his gossip, a term meaning god-sibling or god-parent. Gossip, in this meaning of the term, originated hundreds of years if not a thousand years earlier. By the height of Shakepear’s fame, beginning around 1592 and very possibly because of his plays, gossip became associated with idle chatter, mainly but not exclusively, among women. This is yet another word that Shakepear’s writing has caused the downfall of. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636105780-RFXIOZ6X9YYE08Y3GJ1K/Gossip+handle+5mb.jpg 2025 - Gossip Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749919233912-1M3K72K4CVJTYFLQTG97/The%252BSybil.jpg 2025 - Idol (The Sybil) underglaze on stoneware, wax thread, thread, laurel incense; 10 x 10 x 11 in. The Sibyls—once great oracles and mystics who advanced and served the greats and the common many in ancient Greeks and Romans. By the early second millennium, the Sibyls transformed into snake-like seducers, tricking men into marrying or sleeping with them. Interesting fact: until the Guttenberg press started standardizing spelling of words, the Hebrew ‘Lilith’ in Isaiah 34 was sometimes translated or conveniently changed into a Sibyl written in English. ___________ In 1391, Andrea de Barberino wrote an Italian chivalric romance call, in English, Guerrino the Wretch. It follows the adventures of this tricksterish and wiley orphan Guerrino as he attempts to find his father. At one point in his travels, he comes to a mountain pass in the Apennines when the devil suddenly appears and tells him that a great enchantress, the Sibilla, lives nearby. The enchantress, the devil explains, rules over a vast subterranean kingdom, and earthly paradise that will be his to enjoy…He falls in love with this Sibilla who is the famous Cumaean Sibyl of ancient Rome. For a year, Guerrino is completely happy and this fairy kingdom, but he begins to notice that every Saturday his beloved, Sibyl and all her ladies walk themselves in their rooms over conned by curiosity, he pierced the door and see they have all transformed into a monster—a half human with serpentine legs. Horrified, Guerrino escapes and goes to Rome to be absolved of his year of sinful living. Link to video for The Sybil: https://vimeo.com/1073920389 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636130970-WVSYNLOI2O93N4LBTDCR/Sinister.jpg 2025 - Sinister steel, cypress, cotton; 15 x 7 x 50 in. From Latin, sinistra, the root for sinister, means "left, on the left side." But since most humans were right handed, even 2,000 years ago, left hand folks was always kinda seen as suspect or weaker—unless you were a warrior, left handedness could offer you an element of surprise in one-on-one battle and in some ancient cultures, left-handed fighters were perceived as magical or having the gods on their side. The “evilness” solidified upon the word sinister by the 14c. meaning "contrary, false; unfavorable; left-handed; to the left." This probably happened because of sinister’s association with divinations dating back to the ancient Romans. To the Roman seers, things moving to the left carried both good and bad omens, all depending on what was being “seen”—context and the “thing” was always important. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1755636131129-GD96XU3284S3E72UBKWS/Sinister+Handle+5mb.jpg 2025 - Sinister Detail https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749925415729-FX1X522PBPQV4H2KT94C/We+know+01.jpg 2025 - Spinster (We know that we know)⁣ strips of clothing, steel, brass, pine⁣; 70 x 90 x 20 in.⁣ This piece holds two ideas for me. First, every Spinster piece made is about me, a spinster—an unmarried childless person. ⁣But also about the medieval European occupation, a spinster—meaning ‘a woman who spins for a living.’ This was one of the few trades a single woman could have as an occupation to make their own money. And the Goddess Clotho, one of the three Fates in Greek mythology, who spins the thread of a person’s life, therefore, a spinster. Historically, women have been the weavers and spinners of memory. They are the ones who keep alive the stories and knowledge of the past, tell the history of the community and are the ones who tell them to the future generations. Today, things known and learned can be deleted and rewritten to fit the powerful's goals. ‘We know that we know’ calls to share our knowledge even if it’s through an oral tradition. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749918198128-HW5IBGOT6V0Q1PDPYVVB/Bason.jpg 2025 - Idol (Bason) underglaze on stoneware, wax thread; 5 x 5 x 7 in. Bason is known to be first and only mentioned in the Elizabethan grimoire, The Book of Oberon (1577), author/s unknown. I used the 2015 translation by Daniel Harms, James R. Clark, and Joseph H. Peterson. In this translation, Bason, the demon, is described as having the ability to make themselves invisible and can answer all of your questions. They have three heads, one of a dog, one like a man’s and another like a raven, has feet similar to a goshawk and spits fire from their mouth(1). By the 16th century, the same century The Book of Oberon was written, the silk road and other major trade routes between the far east like China, Japan and Korea and Europe were well established and had been for centuries, if not a few millennia. Goods for trade, food, spices, stories, folklore, fears and hope all traveled these routes as well. It's very possible that a story of the mythical creature, the Basan, from far off in Japan could have made its way to Europe. The Basan, in Japanese folklore, is a fire breathing chicken that lives in the mountains of Iyo Province. It breathes a “ghost-fire” from its mouth and supposedly if a human hears the “basa basa'' sound it makes and tries to look for it, the Basan can suddenly vanish(2). Like a proverbial game of phone, stories change and get added on to and now this Japanese fire breathing mythical chicken has three heads—a dog, human, and raven—rides a wild bear and has long claws like a hawk but at least they remembered the invisibility, some of the fowl-like qualities and the fire breathing. This is just another way Christians and the West demonize the Other whether it is a person, place, thing, or animal. Harms, Daniel, and James R. Clark. The Book of Oberon: A Sourcebook of Elizabethan Magic. Llewellyn Publications, 2015. Translation of the 1577 first edition. From Wikipedia: https://en.wikipedia.org/wiki/Basan_(legendary_bird)#cite_note-Katsumi-1 Link to a video of Bason ringing: https://vimeo.com/1093380076 On Bells: Bells as toys: My bells are formally and structurally based on the Boeotian bells from the Geometric period of Greece’s history. Archaeologists have found broken but only two complete simple terracotta female presenting bells with geometric patterns painted in black and fragments of possibly nine other bells. It is strongly suggested that these bells with their human genitalia are associated with cult rituals used to indicate the presence of a deity or deities. Some scholars believe these simple bells to be votives of toys associated with the Orphic myths regarding Dionysos. According to the Orphic myths, the Titans lured Dionysos to his death by enticing him from safety with the offer of toys. Spinning tops and bells are often included in the list of objects used by the Titans. Others scholars consider them to be just toys, labeling them “bell-shaped dolls” and not linking them to Dionysos or other deities. From my understanding and research, these terracotta bells were found all together in one location in Boeotia, Thebes and nowhere else in ancient Greece or Rome. Because of this, some scholars believe two things: first, they think one person made them for personal reasons and secondly, they are more crudely made and painted in comparison to the pottery of the time, meaning the creator had the access to the tools but was not an artisan. Moreover, bronze and iron bells have been known to be in circulation at the time but not in the form of a human figure like the Boeotian bells. It is also unclear to me if the bells were found alone with the other mentioned “toys” like the spinning tops but they are commonly lumped together in contemporary writings. Bells as sacred-secular object: My bells are thematically based on their sacred-secular significance in western histories. Bells are commonly associated with time, mystical happenings, and communications with deities, ancestors and the supernatural for thousands of years. In the Christian era, bells signified the arrival of the Holy Spirit and to announce the times of worship. Magical powers were attributed to the church bells especially because of their positions, hanging from the steeple between heaven and earth—the passage between worlds. And by the bell’s thunderous toll, it was believed that it scared away demons. In Hinduism, the ghanta are hand bells that are hung or placed at the temple entrance. Devotees would ring the bell while entering into the sanctum in order for the devotee to inform the deity of their arrival. The sound of the bell is considered auspicious which welcomes divinity and dispels evil. In Witchcraft and Wicca, the ringing of a bell tonally cleanse the ritual space as well as call in and out for the deity or ancestor. Particularly, my bells draw from the redressing of Christian and Abrahamic demons. If today, we demonize the other and they demonize us. Who and what was demonized in the past to create the demons still referenced in some religions? My bells slip into syncretism—by us ringing them, they open a passage between worlds; by us ringing them, they know we are here; by us ringing them, we can tell their stories. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1749924517939-WHZHYCIOZ1H6BG9MVI29/Margaret+Fernseed+01.jpg 2025 - Spinster (Margaret Fernseed) strips of clothing, steel, brass, pine⁣; 85 x 70 x 20 in. It was 1607, Peckham, England. There was a married woman on trial, Margaret Fernseed—She was loud; she was aggressive; she was scold; she was rude; She confessed to owning a brothel; She confessed to being a brothel madam; She confessed to a beating women; She confessed to entrapping young women into prostitution; She was quite an awful person but she insisted she did not murder her husband. So why, in the count records, did the courts begin their murder case referring to Mrs. Fernseed, as she was Mr. Fernseed’s wife, then abruptly begin to recognize her as a spinster, which in 1607 definition, is an unmarried childless woman? According to Blessin Adams 2025 book, Thou Savage Woman, “The reason behind [this] was, is that married women were legally subsumed under their husbands. So they were not legally autonomous individuals. And so this raised a tricky legal problem. If women were not legal individuals, and that they were entirely under the responsibility of the husband, and they must obey their husband in EVERYTHING, when they[the wife] commits a crime, who is responsible?” The wife could argue, and according to Adams, they have before this case under the above logic, that “yes, I did commit a crime but my husband told me so. And I must obey my husband in all things.” Note: Mrs. Fernseed did not claim this. She defended her innocence. However, the courts work around, in this case and for the future, is to forcibly annul the marriage–declaring a marriage void, as if it never existed. Hence, making the woman, Mrs. Fernseed, a spinster (BTW, they never referred to her in her maiden name, always her married name) and allowing the court to fully adjudicate the crime and punishment of murdering a town man, who was, now, never her husband. Mrs. Fernseed was convicted of Mr. Fernseed’s murder on circumstantial evidence, in no small part due to her poor reputation and hung. http://www.chiara-no.com/we-know-that-we-know daily 0.75 2025-10-20 https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760974365446-760V2F810NTPLR7J9LQH/Install+shot+5mb.jpg We Know That We Know - WE KNOW THAT WE KNOW Installation is location at Field Projects in Chelsea, NYC. Opens October 26, 2025 and closes November 22, 2025. Curated by Jacob Rhodes Press Release: In We Know That We Know, Vermont-based artist Chiara No presents ordinary domestic things that are transformed into knotted forms of dissent, welded with double meanings and carved references to forgotten or distorted histories. By redressing stories and histories that have been maliciously misremembered or erased, Chiara calls attention to the power of the everyday as storytellers: the rug, the bell, the spoon, the chair. Each one is envisioned as active participants with perspectives and agendas. Central to the exhibition is the idea of gossip; not as idle talk, but as a whisper network, shared stories, a system of care and survival historically used by women and marginalized communities. This “good gossip” becomes a form of resistance—a way to protect, uplift, and comfort. It is knowledge passed through coded language and material, and a defiant archive against official histories. Chiara critiques how domestic items can be a source of protection, while these items, if found in the wrong place in the home, can be weaponized by those in power. Bells, for example, are found on top of church steeples to call in the holy ghost but if found in the wrong part of a home, could be a sign of a devil’s altar. Chiara hangs her work using the vernacular of home, nodding to the utility of Shaker furniture and in spirit, calling on their radical experiments in communalism. She thinks about how, through our stories, our gossip, we share and learn from each other and use the past to reconnect us with the present; reminding us how we tell stories to shape the future. Chiara’s rugs tell a story about a type of person. They tell a story that feels repetitive throughout Western histories and directly affect today’s body politic*—demonizing the other instead of finding empathy, removing knowledge holders when the truths are inconvenient, seeing the past as a way to predict the future but no one listens. Her rugs function as a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Chiara’s rug beaters tell the story of the English language and how some words over the centuries and millennia have been distorted and weaponized against those who found identity and strength in that word. The head of the beater is a specific word codified into drawing and sculpted into steel. The handles are found and constructed forms that relate to the innocuous origin of the now maligned word. The rug beater is a millenniums old cleaning tool. Creating the beater is an act of cleaning the word. Chiara’s bells tells a story of an individual who could be a real or supernatural person, who was demonized and dehumanized in Western historical writings, myths, and fairy tales to advance the dominant cultural agenda of their time. By ringing them, they know we are here; By ringing them, they can tell us their stories; By ringing them; we can tell their stories. In the act of sharing our stories—gossip—Chiara invited three artists to contribute something intentional for this exhibition: George Sawyer, a Vermont-based artist and Windsor chair maker, constructed his take on a gossip chair that invites a pair to sit closely and share knowledge or stories together. Its encompassing arm-bow creates a safe space for conversation, drawing reference to a bassinet and the roots of the word “gossip” to midwifery and motherhood. Julien Birch, a Vermont-based artist, paints surreal interior spaces that reflect on memory and trauma through the use of uncanny distortions of everyday objects and spaces. Cait McCormack, a Philadelphia-based fiber sculptor, created objects embodying the act of shooting their memories into outer space only for them to return, compressed and altered by the conditions of the unknown. *body politic: noun. the dominant people of a nation, state, or society considered collectively as an organized group of citizens. Bibliography: Basile, Giambattista, et al. Giambattista Basile’s The Tale of Tales, or Entertainment for Little Ones. Wayne State University Press, 2014. Bezovska, Albena. “The Spoon in Folk Rituals and Beliefs.” Folklore, БНР Новини, 22 Oct. 2014, bnr.bg/en/post/100475607/the-spoon-in-folk-rituals-and-beliefs. Bryson, Bill. At Home: A Short History of Private Life. Anchor Books, 2011. Burns, Ken, director. The Shakers--Hands to Work, Hearts to God. Direct Cinema, 1984. “Cassandra: Priestess of Troy.” The Ancients Podcast, episode 534, History Hits, 12 Apr. 2025. Clegg, Sarah. Women’s Lore: 4,000 Years of Sirens, Serpents and Succubi: 4,000 Years of Sirens, Serpents and Succubi. 2024. Daly, Mary. Gyn/Ecology. Beacon Press, 1990. Davies, Surekha. Humans: A Monstrous History. University of California Press, 2025. Farber, Walter. Lamastu: An Edition of the Canonical Series of Lamastu Incantations and Rituals and Related Texts from the Second and First Millennia B.C. Eisenbrauns, 2014. Federici, Silvia, and Peter Linebaugh. Re-Enchanting the World: Feminism and the Politics of the Commons. PM Press, 2019. Federici, Silvia. Witches, Witch-Hunting, and Women. PM Press, 2018. Geller, Markham J. Healing Magic and Evil Demons: Canonical Udug-Hul Incantations. De Gruyter, 2016. Jewish Voice for Peace Academic Advisory Council. “Rejecting Project Esther: Understanding Christian and White Nationalism as Racism and Antisemitism.” Contending Modernities, 6 May 2025, contendingmodernities.nd.edu/global-currents/jvp-rejecting-project-esther/. Klein, Melanie. Envy and Gratitude & Other Works, 1946-1963, Chapter 15: Some Reflections of The Oresteia. Dell, 1977. Lau, Kimberly J. Specters of the Marvelous: Race and the Development of the European Fairy Tale. Wayne State University Press, 2025. “Lilith: Mesopotamian Demoness.” The Ancients Podcast, episode 307, History Hits, 29 Apr. 2023. McKinney, Kelsey. You Didn’t Hear This from Me: (Mostly) True Notes on Gossip. Grand Central Publishing, 2025. “Project 2025’s Other Project.” The Daily, The New York Times, 16 July 2025. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760974365446-760V2F810NTPLR7J9LQH/Install+shot+5mb.jpg We Know That We Know - WE KNOW THAT WE KNOW Installation is location at Field Projects in Chelsea, NYC. Opens October 26, 2025 and closes November 22, 2025. Curated by Jacob Rhodes Press Release: In We Know That We Know, Vermont-based artist Chiara No presents ordinary domestic things that are transformed into knotted forms of dissent, welded with double meanings and carved references to forgotten or distorted histories. By redressing stories and histories that have been maliciously misremembered or erased, Chiara calls attention to the power of the everyday as storytellers: the rug, the bell, the spoon, the chair. Each one is envisioned as active participants with perspectives and agendas. Central to the exhibition is the idea of gossip; not as idle talk, but as a whisper network, shared stories, a system of care and survival historically used by women and marginalized communities. This “good gossip” becomes a form of resistance—a way to protect, uplift, and comfort. It is knowledge passed through coded language and material, and a defiant archive against official histories. Chiara critiques how domestic items can be a source of protection, while these items, if found in the wrong place in the home, can be weaponized by those in power. Bells, for example, are found on top of church steeples to call in the holy ghost but if found in the wrong part of a home, could be a sign of a devil’s altar. Chiara hangs her work using the vernacular of home, nodding to the utility of Shaker furniture and in spirit, calling on their radical experiments in communalism. She thinks about how, through our stories, our gossip, we share and learn from each other and use the past to reconnect us with the present; reminding us how we tell stories to shape the future. Chiara’s rugs tell a story about a type of person. They tell a story that feels repetitive throughout Western histories and directly affect today’s body politic*—demonizing the other instead of finding empathy, removing knowledge holders when the truths are inconvenient, seeing the past as a way to predict the future but no one listens. Her rugs function as a protective barrier—their soft borders protecting whether they are on the wall, floor or resting on one's shoulders. Chiara’s rug beaters tell the story of the English language and how some words over the centuries and millennia have been distorted and weaponized against those who found identity and strength in that word. The head of the beater is a specific word codified into drawing and sculpted into steel. The handles are found and constructed forms that relate to the innocuous origin of the now maligned word. The rug beater is a millenniums old cleaning tool. Creating the beater is an act of cleaning the word. Chiara’s bells tells a story of an individual who could be a real or supernatural person, who was demonized and dehumanized in Western historical writings, myths, and fairy tales to advance the dominant cultural agenda of their time. By ringing them, they know we are here; By ringing them, they can tell us their stories; By ringing them; we can tell their stories. In the act of sharing our stories—gossip—Chiara invited three artists to contribute something intentional for this exhibition: George Sawyer, a Vermont-based artist and Windsor chair maker, constructed his take on a gossip chair that invites a pair to sit closely and share knowledge or stories together. Its encompassing arm-bow creates a safe space for conversation, drawing reference to a bassinet and the roots of the word “gossip” to midwifery and motherhood. Julien Birch, a Vermont-based artist, paints surreal interior spaces that reflect on memory and trauma through the use of uncanny distortions of everyday objects and spaces. Cait McCormack, a Philadelphia-based fiber sculptor, created objects embodying the act of shooting their memories into outer space only for them to return, compressed and altered by the conditions of the unknown. *body politic: noun. the dominant people of a nation, state, or society considered collectively as an organized group of citizens. Bibliography: Basile, Giambattista, et al. Giambattista Basile’s The Tale of Tales, or Entertainment for Little Ones. Wayne State University Press, 2014. Bezovska, Albena. “The Spoon in Folk Rituals and Beliefs.” Folklore, БНР Новини, 22 Oct. 2014, bnr.bg/en/post/100475607/the-spoon-in-folk-rituals-and-beliefs. Bryson, Bill. At Home: A Short History of Private Life. Anchor Books, 2011. Burns, Ken, director. The Shakers--Hands to Work, Hearts to God. Direct Cinema, 1984. “Cassandra: Priestess of Troy.” The Ancients Podcast, episode 534, History Hits, 12 Apr. 2025. Clegg, Sarah. Women’s Lore: 4,000 Years of Sirens, Serpents and Succubi: 4,000 Years of Sirens, Serpents and Succubi. 2024. Daly, Mary. Gyn/Ecology. Beacon Press, 1990. Davies, Surekha. Humans: A Monstrous History. University of California Press, 2025. Farber, Walter. Lamastu: An Edition of the Canonical Series of Lamastu Incantations and Rituals and Related Texts from the Second and First Millennia B.C. Eisenbrauns, 2014. Federici, Silvia, and Peter Linebaugh. Re-Enchanting the World: Feminism and the Politics of the Commons. PM Press, 2019. Federici, Silvia. Witches, Witch-Hunting, and Women. PM Press, 2018. Geller, Markham J. Healing Magic and Evil Demons: Canonical Udug-Hul Incantations. De Gruyter, 2016. Jewish Voice for Peace Academic Advisory Council. “Rejecting Project Esther: Understanding Christian and White Nationalism as Racism and Antisemitism.” Contending Modernities, 6 May 2025, contendingmodernities.nd.edu/global-currents/jvp-rejecting-project-esther/. Klein, Melanie. Envy and Gratitude & Other Works, 1946-1963, Chapter 15: Some Reflections of The Oresteia. Dell, 1977. Lau, Kimberly J. Specters of the Marvelous: Race and the Development of the European Fairy Tale. Wayne State University Press, 2025. “Lilith: Mesopotamian Demoness.” The Ancients Podcast, episode 307, History Hits, 29 Apr. 2023. McKinney, Kelsey. You Didn’t Hear This from Me: (Mostly) True Notes on Gossip. Grand Central Publishing, 2025. “Project 2025’s Other Project.” The Daily, The New York Times, 16 July 2025. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760972855020-OG4TYCW806OW2LPUX6AH/Wishbone+ash+5mb.jpg We Know That We Know https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760974459438-IGQZ7QCMD2SNI13XF8WV/Wishbone+ash+5mb.jpg We Know That We Know Images displayed from left to right, starting at the entrance of the gallery. https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760972856220-NWAIP3WE3D8N4NN79QKI/Wishbone+ash+detail+5mb.jpg We Know That We Know https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760972846859-L046CVUHNST71SG9RTVR/Other+300+5mb.jpg We Know That We Know https://images.squarespace-cdn.com/content/v1/52b484c9e4b0d1c471ea2fa8/1760972854329-PM780RA36H46I70NSI1Q/Wall+02+5mb.jpg We Know That We Know 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