Mareekh مريخ: Multimedia Martial Talisman

20 in x 20 in x 3 in
Mixed media paper sculpture (iron mica filament, ink, watercolor, iron magnetite ink of dissolved firearms, cochineal beetle pigment, human blood, cotton) on handmade Nepalese Lokta paper, 2021 Running length 5’ 25” (325 seconds)

Mareekh مريخ is a multimedia talisman piece ensouling the planetary energies of Mars. This piece is the artist’s first exploration of constructing a talisman by traditional means, that instead of being carried on the person or location, could technologically be experienced in a multisensory fashion. The artist is interested in how technological means such as filming and audio recording could allow for factors like time and location to be captured in the activating process of celestial ensouling. All footage of this piece was captured during the 5 minutes, 65 seconds of the original tape loop played at the election “birth” time described below. This brief article describes what makes a true talisman.

Mareekh مريخ, in particular is a talisman created to attune the experiencer to the planetary energies of Mars, specifically as a “feminine call to arms.” This Martial feminine component is an ongoing theme and focus of the artist’s interests, training and advocacy likely supported by her own natal placements. All humans are believed to hold components of both the feminine and masculine — on all three planes of the physical, mental and spiritual.

This project was co-produced by C.R. Sanders, who also assisted with cameras. Project shot at Widow’s Son Productions in Los Angeles.

METHODOLOGY

A variety of contemporary and traditional methods were used in the meticulous construction of this piece, inspired by techniques and imagery from the Islamic grimoire of Shams al Maarif and the Ghayat al Hakim aka the Picatrix – combined with the artist’s training in the Sufi and Western Mystery Traditions. Contemporary Martial adaptations of traditional Kufic calligraphy and Islamic illumination were used throughout.

This piece was constructed over a period of 17 weeks, during astrologically-appropriate days, nights and hours. Astrologer Sasha Ravitch was consulted for key election dates/time calculations that were observed for crucial points of construction (i.e. composing, recording to tape, introductions of and consecrating the metals within the piece, specific inscriptions, etc.) The election chart below is of the official birthing and recording of the piece. Traditional Renaissance Astrological Magic calculations were not completely adhered to, as the nature of this particular project called for the consideration of the artist’s natal chart and aspects as the “living talisman” and creator of the piece. For reasons of privacy, Bint’s chart is not publicly included with that of the talisman’s, but do note that the synastry between the two were a key component in the calculations.

Observations and incorporations of the lunar mansions as well as lunar aspects to Bint’s natal chart played an important role in the realizing and construction of this project.


The entire piece is comprised of Islamic Divine Names that were both chosen and inspired for the particular properties of this talisman. The Arabic Divine Names used are القوي Al Qawee, Ya Qahirيا قاهر , Ya Muntaqim يا منتقم , and العزيز Al Aziz meticulously inscribed during specific times, with consecrated pigmented inks and pens in a specific abjad-related or gematria number of times that all break down into a five-fold pattern further arranged to create specific shapes and forms. Traditional rituals of Sufic dhikr (mantric repetitions) of the Names along with ritual purity and other environmental factors were observed throughout the inscription process.

The following Quranic verse was inscribed 5 times using an ink made of dissolved firearms (shown below). This same verse and ink are used in the limited edition original prints mentioned at the bottom of this page.

Materials

The five stone obelisks activating the corners of the talisman are of onyx containing enough iron in order to be magnetized underneath. This both draws down and carries the Martial current throughout the piece, which is also the meaning of the inscribed Quranic vers.

All metallic components of the piece are infused with multiple layers of iron and steel filaments. The larger sections of red are comprised of a mixture of genuine cochineal beetle pigment and the artist’s actively drawn blood.  The black inscriptions along the primary obelisk uses a highly magnetic iron ink made of dissolved firearms by ink-maker Thomas Little (@a.rural.pen). 

Music

The music used was composed in the key of C using very specific Martial field recorded foley samples and dhikr invocations, set to drones from a Korg MS20 analog synthesizer and harmonium—all of which were recorded straight to cassette tape using a 4-track recorder. The length of the cassette tape loop was cut to exactly 65 seconds (1 minute, 5 seconds), looping 5 times to a total length of 325 seconds (5 minutes, 25 seconds), both being important numbers associated with the gematria associations with Mars.


At the elected “birth” time of the piece, the talisman grid and current running through it was activated by the playing of the cassette tape loop. The electromagnetic nature of the tape has slight interactions with the highly magnetic ink made of dissolved firearms, running around a magnetized iron-onyx obelisk.

Limited Edition Original Prints

5 limited edition original prints of the piece have been made available for sale and personal ritual use.

Each of the 5 limited edition originals are individually hand calligraphed by the artist using using the magnetite firearm ink mentioned above. The calligraphy on these piece are of the Quranic verse mentioned earlier, written in the artist’s contemporary style of Kufic Arabic calligraphy. The pentagram and metallic accents are also individually hand painted with iron-mica infused ink. These five prints come with a set of 5 stones to activate the grid for personal use, a stone for balancing personal energy after using the grid and a cassette tape of the Martial tape used in the original installation. A detailed digital guide, including ritual recommendations is also included with every purchase.

Two / 5 pieces are still available. $555.55. Contact the artist for purchasing details.

_{5% of proceeds go to PREPARE, Women-owned NonProfit Founders of IMPACT, resepcted and well-known for its curriculum and independent international chapters specializing in womxn training programs on personal safety, assertiveness and self-defense training program. It is part of a comprehensive effort to prevent sexual assault and other acts of interpersonal violence and boundary violations. prepareinc.com ➖ www.impactselfdefense.org}

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Mothers of my Mother: أمهات أمي

أمهات أمي - Mothers of my Mother (Mars in Cancer), 2021

Running time 17 mins, 29 sec
Durational performance using contact microphones, tattoo needles, henna



⚠️ CONTENT WARNING: Blood, needles, imagery of self “harm”


Durational piece in which I live-sampled audio recordings through my skin of a ritual offering to my matrilineal ancestors. This piece was the final culmination of a week-long astrologically-informed ritual working of remediations to appease my restless matrilineal dead ancestors. 

This piece was born from a professional consultation with astrologer, Sasha Ravitch in which she picked out a set of five key Martial election dates for my Mars-centric project, the Mareekh talisman installation. One unusual date and timing stood out strongly—in relationship to my chart— that was specifically supported for necromantic Martial workings and phlebotomy.

MORE INFORMATION AND FOOTAGE COMING SOON.

Project was co-produced by C.R. Sanders, who also assisted with cameras. C.R. also played a key collaborative role in brainstorming, planning and setup. Project shot at Widow’s Son Productions in Los Angeles.


Tattoo Artist: Christos Tejada
Astrologer/Consultant: Sasha Ravitch
Co-Producer/Cameras: C.R. Sanders

Special additional thanks to:

Laura Ellis - consultation and divination
Langston Kahn - ancestral shamanic sessions
Dr. Al Cummins - Ancestral Work course and info
Crank Sturgeon - contact microphones
J.M. Hamade - consultation
Mom

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أمهات أمي Ancestral Altar (Mothers of my Mother)

أمهات أمي Ancestral Altar, 2021

Mixed media altar installation of ink, hair, candles, glass, henna, incense, flowers, food, silver, aluminum, water, quartz crystals, wood, wax, silk. 
Los Angeles, CA

Altar was installed as part of Mother of my Mothers performance ritual working. For information on that project visit this separate page ︎︎︎

An ancestral altar installation was installed the evening prior to the performance working with all of the ancestral essentials, traditional foods and some of their favorite requested offerings to appease, remediate and soothe them during the operation especially with the excessive inflammatory Martial activity.

Installation consisted of offering made of fresh flowers, candles, incenses, rose water, a family Quran, braided hair and variety of traditional foods and sweets that were cooked in the kitchen of my mother. These were presented in containers of heirloom silver and crystal glassware and jewelery also from my mother’s house.

Food offerings included fresh baklava from a local neighborhood bakery, extra buttery and starchy couscous from my mother’s pantry, cooked on her stove, dates from Madina topped with rosemary from my mother’s herb garden, frankincense and amber incense I brought back from Egypt and Morrocco, among other personal items and mementos.

Project was co-produced by C.R. Sanders and shot at Widow’s Son Productions in Los Angeles. 

Co-Producer: Chris Sanders
Cameras: Bint

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Tracking

Tracking, 2021

Site specific performance using menstrual blood and water
Running length 21 minutes


Site specific durational performance piece tracking a mixture of the artist’s menstrual blood and water around a central ritual offering. This piece was a cathartic active meditation during a week the artist received a bittersweet mix of praises and threats online.

An active meditation on the potential danger for those living an ‘other-ed’ life, to leave behind our footprint traces as we navigate the world. A risk so worth it when it leads kin to you. Even if it’s centuries after we’re gone. 👣

An active meditation on the traces of what we leave behind in our little blip of time here. Proof we existed and what we were about. Perhaps someone who comes after us will find these tracks and carry on where we left off? To tell the stories our flesh couldn’t at the time. And the cycles continue. Thinking on the women who’ve come before me whose stories and work I draw upon from the well of the Imaginal, where all things are recorded– but whose names are lost to the sands of time.👣

An active meditation on the tracks of a woman’s* footprint. The terror of feeling hunted, stalked, preyed upon. How leaving the house in a woman’s body, and for some even in their own homes, is a liability, a target. Thinking on the universality of this violence, both personally witnessed and heard accounts of from women I’ve known around the world. 👣

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For the Women Girt with the Sword

For the Women Girt with the Sword, 2021

Cassette tape sound art installation, Multimedia A/V performance
Presented at the Coaxial Media Arts Festival, March 2021
Total length 05 mins, 59 sec


Installation featured cassette tape ritual offerings of composed tape music and multimedia video art set to the narration of an excerpt of the essay “Freedom is a Two Edged Sword” by Jack Parsons (1914-1952). 

A multimedia ritual offering A/V installation (5 min, 59 sec) presented as part of the Coaxial Media Arts Festival, curated by FemSynthLab. This installation is a product of recent experimentations with tape music, fascinated by the electro-magnetic properties – especially as it relates to the planetary energies of Mars – and its interactions with other metals.

I like the idea of the invocations being transmitted from electromagnetic tape to the hot metal of the incense burner, which after a number of revolutions eventually starts disintegrating the physical sound, as the earthbound magnetic prayers are carried to the heavens. 

The ritual offerings are invoking and in dedication to the goddess Babalon, who is a form of the goddess Inanna/Ishtar, particularly appearing in the book of Revelations 17 branded by the Christian church via John of Patmos as the “Mother of Harlots” and “Mother of Abominations and All the Filth and Fornications of the World”.