My sculptures, constructions and drawings for the past 28 years have been concerned with archaic, mythic settings, beliefs, rites, shamanism, and alternate realities. The impetus of the work has been an interest in some common characteristics of primitive and modern image making. The attempt was to create objects, "with their material nature pointed toward visionary purposes". (James Purdie "Gallery Reviews", The Globe and Mail Dec. 9/ 1978)
The structures and sculptures of 1976-1979 have evolved from interest in nomadic Siberian Tribes: Tofa BackBone, OutPosts, Tofa Hut, Map Hut, Sun House, Tofa Door, Branch Wall, Open To..The..Moon, Primordial Arc . "Perhaps as an antidote for the awesome complexities and rapid change that characterize our electronic-space-age culture,artists continue to offer visual reminders of archaic civilizations-their structures, their rituals, and their myths. As a consequence, the relationship between art and anthropology becomes increasingly evident...In Halyna Mordowanec’s new work this anthropological interest can be readily recognized. Nine structures built from branches which have been heavily glazed with a waxy substance bring rudimentary shelters, the vestiges of a prehistoric nomad culture...Within this mythological context the enclosures are considered as environmental spaces that,once entered, offer spiritual protection...In both their larger dimensions and the shimmering translucent quality of the surface glazes these pieces are particularly succcessful. More than artifacts, they become experiences. Open..to.. the..Moon a large skeletal framework of lustrously coated branches, stirs visions of a different maker, an ancient ancestor-iccce-age man seeking protection in a barren landscape...one recognizes that Halyna Mordowanec’s Forms of Enclosure exist not as contemporary artifacts, but as embodiments of a personal mythic ideology." (Ruth Rattner, "Windsor", artscanada October/November 1978)
"Like Irene Whittome, Mordowanec chooses objects on which she superimposes patterns. For her, the key ritual is layering. An application a day builds up to the final result. The piece assumes its "own" shape. Whittome would say the process is similar to the way strata build up the formation of the earth’s rocks. Mordowanec would agree.
Once, rites were frenzied- the Bacchi danced in uspeakable, passionate mysteries. Today’s rites speak of different, gentler, but equally spiritual concerns." (Murray, J., "New Rites: Irland and Mordowanec", artmagazine September/ October 1980).
The masks of 1983 - 1989 reflected my interests in Ancient Trypillian cultures, while the altars and sculptures of 1994-1998 pertained to Rites particular to women and the Goddess culture. The rattles and Totemic figures of 1998-1999 evolved from Shamanic Activities, while the masks, altars, structures and Labyrinth of 1999-2001 reflect concerns with Alternate Realities.
In 1979-1980, I created structures associated with rituals bearing on the meaning of enlightenment. Both the interior installations: January 1980 Pillars...Arches, Seashell Swing, Performance Dance-Theatre Seashell...Swing, Dance Performance on Seashell Swing, and exterior installations: March...1979...Tree...Stone...Arbour, Outdoor Performances on March...1979...Tree...Stone...Arbour, Open To The Sky 1983, developed the use of performance within sacred and profane architecture.
Between 1980-1990, I researched early cultures in Ukraine-Ice-Age Hunters, Trypillian, Scythian and others indigenous to Ukraine and neighbouring sites. Authors such as Dokia Humenna, Marija Gimbutas, Clarissa Pinkola Estes, Zsuzsanna Budapest , Elinor W. Gadon, Olga Kharatidi, Buffie Johnson, have been rich inspiration.
In my mask series 1983 to 2000, I have worked with Goddess images of strength, power, compassion and creativity to express a consciousness of Spiritual life: Mask Of She-Amazon, Moonstone Power, 1988: Veles of Winter #2, Veles of Winter #4, Velyka Maty Vesny-Great Mother of Spring, Velokodnya Maty-Mother of Easter #1, Velodnya Maty-Mother of Easter #2, Velyka Maty Zbizhia#2-Great Mother of Harvest.
In June 1997, I exhibited in a 3 Women group show titled THREE JOURNEYS which included sculpture-altars: The Singing One of Weaving, The Two-Faced One of Plants Side 1,The Two-Faced One of Plants Side2, :painted and sewn screens: She Of Dance #1, She Of Dance #2, She Of Dance #3, She of Vegetation, One of Water, at the Ukrainian Institute of Modern Art in Chicago. Quoting from the brochure "This thematically linked exhibit is an exploration of archeological, mythological and historical sources on the role of women and spirituality in both ancient and contemporary cultures". ("Three Journeys" Catalogue, May 10-June 29 1997, Ukrainian Institute of Modern Art Chicago). In this exhibit I pursued the Goddess imagery in masks, sculpture-altars , painted and sewn screens where the needle and thread became the drawing tool weaving a linear, mythic imagery.
During the summer of 1998 I documented a JOURNAL OF MY PAST LIFE in which I wrote and illustrated a possible past life as a priestess of the Goddess on Cretan islands many thousands of years ago. The Journal was prepared on the computer with drawings using Fractal Design Program. In Nov.2000, I had a reading of past lives. I discovered that in one of my past lives I was an ancient Greek Oracle woman who led ceremonies of sacrifices; communicated dreams; and visions in the region of Peloponnese, Greece.
During 1998, I created several Goddess altar sculptures using dried clay, wood, stones, cement and dried plant material: She of Clay and Plants; She of Clay and Stone; Altar to Tobacco, Altar to my Ancestors: Kolomys, Ruda, Mordowanec, Kusulych; Altar to the Goddess of Egg, Spiral, and Water; Altar of Bone Calendar of Ancient Ukraine.
In the winter and spring of 1999 while I was involved with Shamanic activities and belonged to a drumming circle, I made Shamanic rattles, from gourds, oranges ,pomegranates: Three Rattles: Pomegranite, Squash, Orange; Three Directions Rattle; Squash and Yucca Rattles; Buttercup and Garlic Rattle; Coconut and Cinnamon Rattle; Seashell Rattle; and Totemic Power Animal Spirit figures, carved out of wood and finished with plant materials: Power Animal Eagle, Power Animal Whale, Power Animal Bear, Power Animal Lioness.
During the period of 1999-2000, I carved and modeled Female Figures out of various woods, Celluclay and soapstone: Goddess of Tree of Life-Maty Derevo Zhytia #1, Goddess of Tree of Life #2, Goddess Dana of Water, Goddess Malanka #1, Goddess Malanka #2, Goddess Lada of Bounty, Goddess Priya of Spinning & Household, Goddess of Grain -Maty Zerna, Goddess Haia-Gaia-Maty Zemlee and Healing, Goddess of Drum, Bear Woman #1, Bear Woman #2, Oracle Woman #1, Oracle Woman #2. Each of the figures embodied a Goddess of various elements and cultural activities and assumed trance like postures embodying their mediating role between several realities. These figures form one piece, A Goddess Circle that is concerned with the accumulation of power, strength and healing and with an ancient ancestral fabric of wholeness and a unity of spirit and body.
In April 2000, I created a full scale Seven Fold Walking Labyrinth that developed from several small scale models: Proposed Labyrinth Model #2, Chakra Mer-Ka-Ba Meditation Model #2. The labyrinth involves the 7 chakras and follows a path IN 3-2-1-4-7-6-5-8 and OUT 8-5-6-7-4-1-2-3, the numbers referring to the various chakra positions from the base of the spine being position 1 to the crown chakra being position 7. The labyrinth is composed of grass, earth, several mulch barks-Red Devil, Red Cedar, stones of various sizes and colours-yellow, white, river stone blue, dyed stones of blue, green and purple, plantings of: lemon balm, various mints, catnip, lavender, various thymes and sages. The walking paths and the borders are 1' wide and the dimensions are 25’ across. The Labyrinth is a meditative, healing, reflective walkway that invites the viewer to participate and experience a living, organic sculpture.
In the Spring and summer of 2000, I modeled and carved masks both in spruce and cedar wood. The spruce carvings represent the Elements: Mask of Nature, Mask of Water, Mask of Fire, Mask of Earth, Mask of Mineral, while the cedar masks represent various states of awareness: Mask of the Labyrinth, Mask Of Flayed Self, Mask of Contentment, Mask of Joy. The following series of 8 masks with embedments of stones, shells and plant material continued the theme of states of awareness and attainment of Alternate Reality: Mask of Labyrinth Stones #1, Mask of Labyrinth Stones #2, Mask of Labyrinth River Stones, Mask of Seashell #1, Mask of Seashells #2, Mask of Seashells #3, Mask of Serenity, Mask of Vegetation.
In October 2000, having experienced a workshop in alternate reality consciousness, I made 6 small scale structure chambers that germinated from my meditations and the workshop activities. The six sculptures: Blue Chamber, Red Chamber, Yellow Chamber, Rose Chamber, Green Chamber, Purple Chamber form one linear piece titled Six Focus Level Chambers.*NEW*After attending my third workshop in November of 2001 called Life Lines at the Monroe Institute I created the paintings one through seven in Gallery 12documenting the meditation experiences. The paintings eight through ten are visual notations from my dream diary which I have been keeping for the last five years.
The premise of Ancestral Sounds 2003 was a work which would respond to the wind's ability to create movement, direction, sound ,resonance and vibration and was created for the Re: Wind Exhibition April-July 2003 at the Art Gallery of Windsor. The small motor attached to the mesh framework acted as the wind to propel the 6' copper tubes, masks and other materials attached to the strands. The various thicknesses of copper tubes were chosen for their sound, resonance, vibration, visual appeal and the copper's ability to produce harmonious energy fields that promote physical and emotional healing.
The materials chosen for the strands represented the 5 elements of nature: earth: bones, wood branches, bamboo, gourds, bundles of sage, lavender and thyme; fire: fired clay, glass beads; minerals; copper tubes , animal bones and stones; air: the motor which creates direction and movement; and water: seashells.
Some of the materials: bones, masks, xeroxed family photos on wood blocks, woven bread rings and the herb bundles paid homage to my Ukrainian ancestors. Also the herb bundles act as sweet-smelling offerings to the ancestors and as symbols of purification, cleansing and healing.
If the masks symbolically represented the ancestors, the sounds created by the work functioned as a means for the ancestors to communicate with the living as a remembrance of their lives. The vertical shape of the piece reinforces a connection between the earth, the home of the living and the spiritual planes where the ancestors abide. The vertical elements of the strands lead you up to the heavens and bring you back to the earth. The scale is endless. without end or beginning.
The work Ancestral Memories 2003-4 was created from an interactive work that was made as a companion piece to Ancestral Sounds. Art Gallery participants were asked to write and draw images of their ancestors on blocks of wood and insert chosen objects with the blocks on a given framework. Upon conclusion of the Re:Wind Exhibit, I wired these written and drawn blocks of wood into 24 strands ,each 6'long and interspersed with natural elements of beads, twigs, bark, seashells, dried plant material, bones, feathers and stones. Thus the 3"x3"memory squares were interwoven with natural and man made elements to create a tapestry wall of memories of over 250 people's ancestors.
The Tree Mask series of four masks were carved from maple wood and stained. The mask forms followed the natural rhythm and shaping of the wood trunk. They evoke feelings of calm, serenity, focus and tranquility. Gallery 15
In 2005 I embarked on a series of 5 Living Twigs, Ivy and Flower Figures. Figure #1 has growing grape vines around the head part and dried grass main body. Figures 2,3,4 and 5 have ivy growing over chicken wire as the bottom part of their frameworks, while Figure 3 has a bag of impatience as a bodice. Figure #5 has an inner stuffing of dried lavender, and thymes in the head, bodice and arm framework. The figures are meant to cohabit in an outdoor landscape becoming part of their environment and gracing that environment with their mythic and spiritual presence. Gallery 16
In 2002, my husband, Tom Regenbogen and I were commissioned to design a Memorial to over 7 Million Victims of the 1932-33 Famine Genocide in then Soviet Ukraine. The Monument was installed on November13, 2005 as a permanent installation in Queen Elizabeth Gardens, Jackson Park, Windsor, On. Gallery 17
Our design concepts centred on the premise that while the Memorial should certainly convey in stark and solemn terms the feelings of loss and despair suffered upon the Ukrainian People by the Stalinist/Soviet Regime, it should also possess some sense of Triumph over what was then a total domination of Soviet Communism.
The Monument is a stark rectangular slab of black granite nearly 12’tall.The Crosses are inscribed as symbols for both sides of the monument. The art side’s pattern of crosses is set against a pitch black background. At the top of the stone, the crosses sit uneasily at angles upon the mounds of mass graves. The disturbed landscape tumbles downwards to the larger crosses and pieces of trampled wheat are scattered as the remains of what has been taken away. The word “MILLIONS” has been repeated 7 times to underline the extent of the losses of the Famine Genocide. The crosses at the bottom third of the monument are more ornate and emerge from this dark past with vitality and new life. They express the triumph of survival over Stalinism, Soviet Communism and Russian domination.
The map side illustrates both current Ukrainian Lands and those areas at the time which were controlled by Poland, Romania, Czechoslovakia and the Soviet Union. The crosses of 2 sizes indicate areas that suffered more than 25% of their population losses to the famine and areas which had less than 25% of its population as casualties of the famine genocide.