THE LAND OF THE JEWELLED MOONS
Set in The Starlight Fantasia, a Parisienne Music Hall in 1881, an artist finds the ability to paint his own creations into reality.
In an avant garde, exquisitely surreal fairy tale, narrated by Lord Byron, which draws influence from the writing of Jorge Luis Borges, celtic mysticism and the game of Juego de la Oca; the journey from the moon to the Sun, a troubled artist finds the ability to paint his own creations into reality, as he studies the creatures of 'The Starlight Fantasia' a Parisienne Music Hall set in 1881. Simultaneously, a Hindu princess in Andromeda strings pearls like diadems in the sky, each a reflection of each other, encircling the philosophy of Leibniz, Spinoza and the theory of the monads, as ethereal, celestial spirits rise from the riverbanks, and are woven into the very fabrics of moonbeams, the statues which hold the city safe.
Should the artist be responsible for his own creations? Should art act as a theurgic device, where via a process of creationism a sacred, enchanted essence sourced from somewhere between the stars and roots is translated on winged fingertips, as to portray a perspective of reality, to capture its essence, or as a vessel into which the artist pours the all diabolic vitriol of sensation.
A fairy queen falls to earth and begins to question her translation of reality.
Paint the truth, or paint light, as the fluidity begins to dissolve and transform.
Whilst the artist's world falls down around him, the canvas beneath him begins to glow and transform the scenery as the beings of The Land of the Jewelled Moons unfold and enter the set of The Starlight Fantasia, to shake the very bones of history with tales of enchanted lands and a mission to open all of the cages behind which 15 billion winged creatures are trapped on the Earth. Contained with an Impressionist, Trompe L'Oiel set, the boundaries between reality and fantasy are lost.
