The Art of Fulfaggotry

Altars, Icons, and Artifacts
from the
Worship of Fulfaggotra,
Goddess of Beauty, Creativity, Sensuality,
the Extravagant, the Voluptuous,
and the Ridiculous
Sculptures and Assemblages
by Laura Cerwinske

Beauty
harmonizes consciousness....
It is as organically vital as digestion.
Beauty is – or ought to be – no big deal,
although the lack of it is.
Without regular events of Beauty,
we live estranged from all existence,
including our own.

                        - Peter Schjeldahl

The Art of Fulfaggotry celebrates Creativity ­ the Female principle ­ as the Supreme Expression of Power. The altars, icons, and artifacts created by Laura Cerwinske represent her vision of civilizations throughout time in which Beauty, Creativity, Sensuality, the Extravagant, the Voluptuous, and the Ridiculous were supremely valued. Her vessels and vehicles of worship are instruments of praise of the Goddess Fulfaggotra, Daughter of Imagination (who is Mother of Beauty, Creativity and Sensuality) and Passion (who is Ruler of The Extravagant, The Voluptuous, and The Ridiculous).

    Fulfaggotra, as commander of myth, epic, and art, established the spiritual vocabulary of almost all known cultures long before the birth of Christ, the enlightenment of Buddha, the writing of the Old Testament, or the mission of Mohammed. Universally adored, She and Her children brought abundance and civility to the entire earth. Her power outweighed, over-shadowed, and outlasted that of all other deities and remains evident wherever Beauty, Creativity, Sensuality, the Extravagant, the Voluptuous, and the Ridiculous prevail.

Laura Cerwinske's altars, icons, and artifacts are rich in ornament, symbolism, and story. They are recognized for their inextricable blend of piety and sacrilege as well as for thwarting anticipated perceptions of the precious and the discarded. Throughout the body of work, sinuous "Female" line is expressed in hard, high fire "male" materials such as iron, ceramic, and glass. Similarly, humble and cast-off elements are married with gilded surfaces, pearls, and jewelry.

The tableaux which Laura composes out of these objects often marry the hyper-formality of Renaissance and 17th century Dutch still life traditions with the visual provocation of work by such early-20th century provocateurs as Meret Oppenheim and Magritte.

As a student of spiritual practice for more than 35 years, Laura Cerwinske also incorporates into her art a broad knowledge of metaphsics and the shamanic and healing arts. Her essay on "The Evolution of Sacred Design" (published in In a Spiritual Style: Thames and Hudson, NY, 1996) traces the story of worship as it has been expressed in art, architecture, and design.

Laura Cerwinske's altars have been exhibited publicly and commissioned for private worship.