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