My work is about the inexorable and the inevitable. This is the animating principle of my constant pursuit, sometimes with humor and sometimes with foreboding. We know that power, greed, and self delusion drive all human enterprise. In fact, I would argue that the pursuit of power is everything, and greed and self delusion are its appendages. Even a true effort to do good is an exertion of power by those who have more, or by those who don't have what they need. In spite of our love of technology and the idea of progress, I believe the basic character of the human experience remains essentially unchanged. In fact, we mostly delude ourselves with technology. We consider it an improvement, though we generally use it only to do the things we have aways done: to find love, to distract ourselves, to gossip or communicate, to wage war. Our most elemental needs and desires are the same as when we first became sentient enough to write history, to create explanatory myths. For this reason, certain images and ideas consistently appeal to us, and certain behaviors remain constant. As long as we are born and have to die, even if we colonize Mars, the old rules still apply. We have always used and abused nature to the extent that we could, and we have aways been afraid that she will fail or turn on us, because she does. We forget that we are nature too. In this regard, ideas concerning plunder, loot, and treasure, as well as fetishism and preciousness, inform the use of materials and appearance of my work.
It's my observation that anything that isn't hard science or math qualifies as myth: an attempt at explanation, and though it may appear erratic and contradictory, the pattern that emerges from this mythology represents a vast store of knowledge concerning the human condition. It provides answers to our most important questions, but we largely choose to ignore it, because we must do what we feel rather than what we know. I have drawn on this expanded concept of mythology for almost three decades in an effort to understand, or at least accept, this conundrum. I choose my imagery based either on its ubiquity or the pervasiveness of an attendant idea. Over the years, I have used many mediums and approaches to tackle this core issue. I am often asked about archetypes, but I prefer to focus on the commonality of experience rather than a collective unconscious. This is where I find immediacy as well as timelessness. Theories of behaviorism have had a greater impact on my thinking. Hope resides only in the possibility of evolution. Can we consciously evolve?
In my most recent body of work, I have addressed the mythology of love by referencing the love god and goddess, songs and poetry, movies, music, animals, and perfume. Scientifically, love is a chemical activity resulting in physical sensations. Psychologically, love is a projection of one's needs and desires onto a chosen person, animal, or object. When we fall in love, we become addicted to the sensation. If we can't transition into a state of abiding love, we behave like addicts looking for another hit. These circumstances fuel our imaginations and shape our love stories. We will do anything for love. If it's not the answer, it at least represents a light in the darkness. We still believe.Celia Eberle 2016