I occasionally get requests to make bigger goddesses–people wanting figures that are large altar pieces 12-18 inches tall or taller. The goddesses I make are all about three inches tall and there’s a reason for that: they fit in the palm of my hand. When I create them, I feel as if I’m part of an unbroken lineage stretching back 30,000 years to the person who carved the Goddess of Willendorf. I feel connected to the priestesses of the Mesopotamian temples who sculpted hundreds upon hundreds of tiny clay goddesses. Someone commented on my sculptures once saying, “echoes of Mesopotamia.” And, I said, “exactly.” I feel the connection between the clay in my hand and the clay in their hands, running through the ripples and eddies of time.
I’ve been inspired recently to re-read Starhawk’s The Spiral Dance, finding new bits of wisdom from it that speak to something different in me than they did the first time I read it. She writes of the attempts to discredit Goddess religion by invalidating the historical narratives or archaeological evidence: “The idea seems to be that if they can disprove our origin story, they can invalidate our spirituality…Is Buddhism invalid if we cannot find archaeological evidence of Buddha’s existence? Are Christ’s teachings unimportant if we cannot find his birth certificate or death warrant?…the truth of our experience is valid whether it has roots thousands of years old or thirty minutes old…a mythic truth whose proof is shown not through references and footnotes but in the way it engages strong emotions, mobilizes deep life energies, and gives us a sense of history, purpose, and place in the world. What gives the Goddess tradition validity is how it works for us now, in the moment, not whether or not someone else worshipped this particular image in the past” (p. 4).
The ancestry of my goddess sculptures is not the energy that raised temples and built monuments (or walls), it is the energy that carried a baby on one hip and a basket of supplies on the other and needed a goddess just the right size to tuck down the front of a shirt.
People might also look for altar pieces that stay in one place, but I create sacred art that goes wherever you do. It makes my day when I see a photo from a customer of their goddesses living life with them, rather than dusty on a shelf, and I keep envisioning a collaborative photo book of these sculptures as they travel the world. In the last month, we’ve shipped goddesses to France, Sweden, Portugal, Ireland, New Zealand, Australia, the UK, and Canada. An archaeologist of the future may wonder why people in so many different geographic regions have little goddesses in the same style—perhaps this is evidence of widespread Goddess worship, they will say.
Sometimes I describe my life in the woods as being held in the hand of the goddess. And, I make goddesses that I hold in my hand. Am I in the palm of her hand or is she in the palm of mine? The answer is both.
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