On a hill above the river Wylye is a circle of stones.The body of the brick cuboid casts shadows on other bodies, reducing the light there. Despite its massiveness and unity, this encaustic stone does not do this evenly, as it is variably translucent. The iridescent yellow tones of the bar thus work with light in two ways: partly they reflect it and partly they let it through. The changing play of light refers to the uniqueness of the moment.
“Our image of children no longer considers them as isolated and egocentric, does not only see them as engaged in action with objects, does not emphasise only the cognitive aspects, does not belittle feelings or what is not logical and does not consider with ambiguity the role of the reflective domain. Instead our image of the child is rich in potential, strong, powerful, competent and, most of all, connected to adults and children.”
Loris Malaguzzi
The Italians believe beauty is a necessary condition for learning. Beauty, in our interpretation, is not a characteristic to just be added. It is a crucial condition. It’s part of our DNA in the construction of the environment so that children and adults can feel at ease and can support each other. Steno Tedeschi
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When placing the WEARTH encaustic wax brick (this very yellow wax bar was called TURNER), a strong wind whistled at the top of the artificial Celtic volcano. Two birds of prey hovered above our heads, and we felt at one with heaven and earth. From this small plateau at the top of the mound, you could easily see the gently rolling hills around Avebury. If our ancestors lit a beacon here, it must have been visible from far and wide. It is difficult to imagine what the actual shape of this truncated cone looked like. It was white on the outside, a colour produced by the limestone. In addition, a spiral path wound up the slope from the foot to the top.
The paths that now exist do not have the beautiful shape that was once used to transport building materials and later probably served ritual processions to the top, to enlightenment, to heaven: they tend to lead straight or at a slight incline from the foot to the top. But they go in almost all directions; there is no ‘main road’ leading to the top. It is also not clear whether it was the animals (sheep are ubiquitous in Britain and can be found in all the surrounding pastures) that created these beaten paths, this break in the vegetation. However, one thing is clear: the fireplace at the summit certainly did not come from the peacefully grazing sheep.
Today we have a rather noisy road (not that it is particularly large, but the loud noises of the passing vehicles seem to be particularly well multiplied and amplified there) that passes at the foot of the hill. When you drive past it on this road, it appears particularly imposing in its size, reminding us that we have achieved what we are, for better or for worse, by working together: Silbury Hill is a flawless symbol of human co-creation. For me, it becomes land art because this enormous effort had no practical use, so it served (possibly ritual) worship, and it seems modelled with a strong connection to the landscape. Yes, this effect extends to the present day. And if we want to add something to this wonderful creation of many people, then it is on this modelled level, and in a temporary and modest way, a spiritual addendum and appreciation more than an intervention. Thus, a new element is added in this appreciation: a view beyond time. Our yellow, our sulphurous colour, our nourishing corn, reminds us of the great painter Turner, but also of the volcanic eruption in Indonesia that led to the many shades of yellow in the English sky, inspired JMW Turner, and may show us that, no matter where we are on the globe, we live in an interdependent terrestrial coexistence. And that exists as long as the earth and we exist.
Lying like Goya’s Maja, Stefan looks at the observing eye. The only difference this time is that the observer is above him and not at eye level with the observer in the museum, as in Goya’s painting. Stefan looks to the source and the source to him. The stone TURNER was placed in a horizontal position in the middle of the upper round plateau, exactly as our co-creator lay down in a horizontal position.
When placing ‘TRUFLE’ on this windy autumn day, Stefan very carefully chooses the direction, position and orientation, whether it should be a portrait variant emphasising the vertical or the horizontal orientation facing the landscape. It took a moment for Stefan to find the right stele within the ‘Celtic’ Land Art circle. The one he chose also had carved marks, the meaning of which probably had something to do with the local selection of the circle’s position within the larger landscape structure of the surrounding area. Ultimately, however, we did not receive a clear answer to this question, so this must remain a more or less educated guess.
Despite the commitment of our subsidiary projects such as Wearth.Worth, which one might be inclined to see as socially, economically or politically relevant, WEARTH is to be seen as strictly supranational and beyond the scope of day-to-day political dialogue. As those committed to art, we work at the level of human perception, and thus with something that connects us Interior spaces are just as open as the aspects of the individual dimensions or the dimensions associated with them. To use the first dimension as a filter means to see the divine, the true, the source and to live from it. The ultimate achievement in this perception is when the perception of the self merges with the highest or fundamental. In the second dimension, essentially shaped by the day/night experience of our monostellar existence here on Earth, two-dimensional media such as this text, numbers, digits, drawings or even binary classifications such as yin-yang, good-evil, true-false appear. In the third dimension, we encounter our body and all celestial bodies in their creation, being and decay: the union of two beings gives rise to a third being, both in a biological sense and in the nature of poetry. Freemasons already knew that the third dimension is the decisive one when it comes to effectiveness, including spiritual effectiveness, within the framework of our earthly existence. The body casts a shadow, not the other way around.
Do you see the two birds-of-prey hovering above our placement?
A circle is a shape consisting of all points in a plane that are at a given distance from a given point, the centre.
Using this symbol implies that we focus on everything equal in us, having the same distance to the center or source.
The bottom and the top of Silbury Hill are circles, connected originally with a winding, spiralling road from the plain towards the sky, getting more and more close to the center.
