By Jill Tegan Doherty
A solo exhibition showcasing British artist Jill Tegan Doherty’s new series of graphite works on paper. Moths are drenched and punctured in ancient symbolism. It is believed they hold concealed knowledge, summoning internal transformation while also serving as emblems of mortality. As shy, nocturnal creatures, it’s curious that they are drawn to light and luminescence in near compulsion, achingly following the breath and hum of eventide glow. Their unwavering commitment to pursuing the light’s allure seems to be a profound existential duty. This visualisation, for me, kindles a potent and vital image, evoking devoted serenity, awe, and weighted contemplation, poised on the brink of metamorphosis; the outcome unknown.
The moth’s reticent, dyadic existence pulses through both this life and one beyond. The Sound of Moths urges us to listen acutely and reverently, reaching into the untouchable recesses of our consciousness, shining a low-lit light over uncharted, otherworldly terrain.
This series of drawings flutters and agitates the technique of automatism, a transcendental state where diffident fragments of subconscious memory stir. Allegories intersect with the paper-thin wings, ethereal whispers entwined as discourse ascends and imagery emerges that eclipses the self’s boundaries, tangible and resonant. Unfurling from the mind’s timid shadows, the moth’s archetypal light guides us, primal instinct illuminating the path. The greatest findings are unearthed during the process of seeking something beyond ourselves and what we already know to exist.
There will be a series of events during the week long exhibition, including a book launch for the artist’s poetry book The Anonymous Self and catalogue The Soft Centre of Bone, as well as live sound performances by invited artists; Ismael Darszon López (performance, voice), Ian Medina (electronics), Miriam Leo (keyboard, voice) and Tom Kessler (double bass).