Amulets of a Golden Muse


	Emma Christina Lucia Rochester Ph.D.

	Meerithic Under the Surface Series Oceanids Vessels for Ondines Oceanic Miele The Song of the Sea Air & Ocean Sea Anemome Kotore Moana Picasso's Chapel Acqeous Floating in Place Floating is Bespattering Yearning One Day Man & Nature Amulets of a Golden Muse Longing Place Out of the Woods Venus Interrupted Lucid Beckoning Visceral Beating As She Waits Last Maiden Vessel What is Courtly Love Sensorial The Garden is Sweet Aesthetics of Enchantment Funeral Pyre Sentiments of Infinity The Sun, The Moon Sitting Circle Each Time the Circle Turns Regenerate Perambulate Past the Mosquito Net To Cross the Salt Lake 28 Walks Geometry Project Sense of Place Sitting Above the Road Carousel Petra Delineation Sometimes Studio Series Sometimes a Glass Sometimes I call Somewhere... Road Brocante Mapping Room Drawing Box Masculinised Territories To Walk the Line Bio Vitae Ten Images About Sublime Pilgrimage to the Place To Walk Across... Leaning Into In Her Hands Longing to Feel Touching the Earth Contact Home

emmachristinaluciarochesteramuletssawtooth1929

emmachristinaluciarochesteramuletssawtooth1930

emmachristinaluciarochesteramuletssawtooth1932

Created during Emma Rochester’s Artist In Residence for the University of Tasmania’s, Academy of the Arts, ‘Amulets for a Golden Muse, is an in-depth study into the types of adornment women wore in the Upper Palaeolithic time period (approximately 25,000 BC).

The most popularly known female nude sculpture dating from this era is the Venus of Willendorf. Commonly known as ‘La poire’ or the Pear. A symbolic image for fertility. Venus of Willendorf is made from Oolitic limestone. Venus is considered to be the 'first Aphrodite' or fertility goddess that is currently known to Anthropologists. In mythology, Aphrodite/Venus was attended, by one of 9 golden muses.

The fabric used in these soft sculptures consists of drawn maps made whilst walking in the heritage-listed apple and pear orchard at the back of the Residence cottage. Fragments and photocopies of the artist's drawn maps have been inserted into the custom designed textiles - In the same manner that palaeolithic women collected fragments of bones and teeth.