MOLLY LYNCH

Further Reading 

A stone circle, 5 stones that form a pentagram, a five pointed star, used as a symbol of faith by many Wiccans in the same way that Christians adorn a cross. The pentagram has magical associations, similarly a pentacle is a talisman of magical evocations and is often regarded as a symbol of protection or a signifier of a sacred place. A common sight across Great Britain, the origins and purpose of stone circles are grounds for great speculation, many theories suggest that the ring of stones in places such as Stonehenge provided asettling for ceremony and ritual, sacred in pre-christian times.

Their construction would have required specialist planning and construction, someone really wanted them to be there. These sites have becomecultural and mythological symbols of transformation and transcendence, an entry into another portal of viewpoint. Geographical landmarks that become thin places, anomalies in the landscape, a sight we can see in reality but is actually parallel to our realm in turn when we see these places, visit them and step inside of them, we are witnessing and participating in a slippage of time. This form will be the basic structure formy immersive installation, using sound and video coming from within the structure of a stone circle.

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The stone circle has become a portal, allowing the energy of the Pendle Witch trial victims to pervade the space, and utilise its power. The sister stones are audacious, rampant and they demand attention. remembering the events that have unfolded around them since their execution. The stones, in their femininity, lament the Wyrdness of what they have witnessed and have the platform to speak openly about it. Possessing the Ley lines of modern technology, wired media, the stones share the same current of energy.

Ley lines, hypothetical alignments connecting a number of places of geographical interest, such as megaliths. Their existence was first suggested by archaeologist Alfred Watkins in 1921, although invisible,these lines are translated to an equivalent of ‘energy’ or ‘spirit’ paths. In 1740 Dr. William Stuckley, perceived the British landscape as laid out according to a sacred ‘druidic’ pattern. ‘..They have made plains and hills, valleys, springs and rivers contrite to form a temple three miles in length..They have stamped a whole country with the impress of this sacred character’.

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The piece is generous and exposing, offering itself to the participants. It is important to note that I will regard any interactions with the piece as participatory, even if that is just watching. Although not a blatant commentary, the work will have a political energy. A certain urgency will ripple amongst the stones, encouraging the viewer to acknowledge the politics of the space and uncover its histories. A convergence of feminist herstories, alternative spiritualities, countercultural activities and Environmental importance.

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Although the piece is inherently pagan rooted, the stone circle itself will act as a secular temple. It is aninclusive space, not restricted by religion or state rule. Any person of any faith or orientation is free to observe the space and its intentions however is easiest for them to digest. It is very important to me that viewers don’t find this piece unapproachable due to cultural or religious differences. It is a safe space, but the rocks do have a lot to say, some of it, bold, very bold.