The lay of the land

As a border walker I continue to examine notions around fiction and myth, authority, power and cultural concepts of origin ...

at times steeped in the psychogeographical, I attempt to explore notions of genius loci (spirit of place) in an attempt to map a forensics of transgressive happenings as essential to the human condition.

In combining the stratological unconscious with the topography of the land, my praxis continues to focus on notions of heterotopia, interweaving the phenomenological experience with elements of esoteric initiation while questioning the shifting relations between the sacred and the profane in both urban and rural environments.

My more recnt work has consciously engaged with feminist notions of the personal as political, taking the standpoint of an other regarding the body and visceral experience of the witch in connection to nature and site.

Anecdotal evidence and Magickal realisms - artist statement for ongoing work since 2013

My practice is intrinsically bound to the discourse around constructs of power, politics and personal free will, around questions of authenticity and authority, often considering the role of memory, place and perception in relation to concepts of origin or cultural norms.

I am interested in examining an otherness, and where this comes into play, using sometimes overlooked areas of cultural histories as a starting point - whether physical hinterlands, lives of those on the perimeter or the murky area where the unconscious meets with the unexplained – I place them in relation to current structures of power and societal divisions.

This invariably leads to examination of the increasing alienation from others in society, and our environment - whether natural or urban, the continuing separation of folk knowledge, and how our access to ancestral and cultural understanding is manipulated by the media. I incorporate aspects of western esoteric thought into some of my work, as a valid tool for re-examining these issues rather than as a glib offering to current trends.

By incorporating aspects of ethnography, psychogeography and bricolage I attempt to question accepted thinking around myth and reality. My installations* being a collection of objects, an inventory of artefacts, some found, some fabricated. I interpret these as forensics from a collected cultural memory, archetypes and signifiers whose interpretation can alter according to the experience, belief and perception of the spectator, but, whose inherent meaning remains the same.

* Human Nature, part II included an interactive performance Ritual which acted as a footnote to the props and artefacts within the installation.


H u m a n N a t u r e ?

the forensics of idealism suspended artefacts fabricated nostalgias


Human nature is an ongoing series of work exhibited in parts -

Part 1 - June 2013, Part 2 - September 2013

Text by Finbar Krook Rosato

The daily lives lived by individuals in contemporary western European societies are often governed by forces beyond our immediate control. The routines and rules we live by are often not of our own making. Freedom of choice has become something of mantra for the modern world, yet the choices we are presented with seem more and more often to be limiting rather than liberating. The narrow set of normative life choices that have become the status quo of today shift and alter slightly on a regular basis to give the sense that we are progressing and evolving towards the mirage of a more enlightened tomorrow. However, contemporary life in post-industrial society seems to offer less and less opportunity for reflection and even less space for any real individual action or expression. All the minutia of daily life could be conceived as a set of rituals that we adhere slavishly to. But do they hold any real meaning for us? Do they help us to grow or do they simply keep us in a state of arrested development?

Do we need to find new rituals? Should we attempt to rediscover and re-evaluate the ritual traditions of times gone by? Should we abandon our daily communications with the many faceted network deities of modernity and go looking for older mysteries? Geraldine Hudson has created a new project for Atelier 123 entitled Human Nature? Pt2 in which she examines the human need to engage with various ritual forms. Through much of her artistic practice, Hudson has raised questions about authenticity, concepts of origin, and cultural norms. Human Nature? Pt2 will take a variety of forms and will develop and grow over time; starting with a public event at an as yet undisclosed location in Hökarängen, continuing with the evolution of a large-scale installation at Atelier 123 and culminating in a closing event a month later.

In this project, Geraldine Hudson pushes us to examine what role ritual might play in our daily lives, and presents us with the possibility of rediscovering and reinventing older ritual traditions. Whether we are firmly convinced of the unquestionable validity of modernity or reject it in favour of romanticizing “the call of wild nature”, a rediscovery of ritual traditions may offer us the possibility of staking out our own individual path, allowing us to leave the well-trodden road of preconceived ideas and strike out into the unknown. A cultural separation between people and the natural world has been firmly cemented in our time. Given that many of the attempts to reverse this strive towards an imagined original state of purity that is in itself an artificial construct, the value of ritual might be to allow for the creation of flexible individual models for approaching the natural world.



Sanitary is a series of work relating to western societys psychological
relationship with the female body, how this relationship has been
controlled through historical use of language and the subsequent
alienation from our natural environment. Specifically relating to the
English Witch Trials, the causality between the persecutions of the
with the emergence of the land enclosure act and capitalism .
The trials thus used in a deliberate political act to control and undermine
the role of women in rural societies.

pure clean sanitary spotless unsullied unadulterated innocent virtuous

smutty soiled stained unclean indecent vulgar salacious profane

The human body, the blood, hair,
flesh in all its dirty glory, seems so alien to the constructed,
seems to mock the ordered, logical world of institutions and concrete
building, of manmade religions and controlling shame.

Whilst humankind’ struggle to
ignore their evolutionary roots, try to leave the wild subconscious
behind, to 'progress' by building ever safer and sanitised false
environments, to wash away the past’ through form, function and
order, the body continues to be.

Technology moves forward with
civilisations, biological evolution continues, but, the social psyche
is somehow still stuck in the divisive aftermath of the witch trials
regarding the female body

Installation - porcelain, soap, hair, soil, branches, twigs

Bookworks - porcelain, soap and screenprint on found material,
(unwashed) 2013


The carnival is over

text to a series of prints, projection and found objects from summer 2006

Transgressions occur through not necessarily conscious actions, the actuality of the event imagined through evidence left behind. These clues which, though ambiguous, serve to signify the frustrations, loss and alienation experienced through being. When the canival is over the human condition remains and all that relates, through growth, nature, animality, dirt and subsequent decay.