“CHROT E’ FIL” (Torch of Life)

This is the only portrait ever discovered depicting ancient Tamara’s “Chrot e’ Fil” (Torch of Life). It was discovered in a cavern by archeologist Jan Toledo who has studied the Tamaran culture since early 1980. Ms. Toledo indicated that the portrait was painted with the pulp of local berries combined with an undetermined preservative. It is estimated that the portrait was done over 2000 years ago, yet remarkably shows few signs of aging.

The Tamaran’s believed that when a person died they were brought before the Carrier of the Torch, whose job was to guide the deceased through the caverns of the after life and into their eternal destiny. Unlike many cultures who believed their actions on earth determined their after life, the Tamaran’s believed that the fate of the deceased depended entirely upon whether the Carrier of the Torch was awake or asleep when they arrived before him to be lead to their destiny. Should he be awake the spirit of the deceased would be released to experience great joy and freedom, dwelling without restriction through the heavens. However, arriving while the Carrier was asleep meant being led to an eternity of terrible chaos, torment and captivity.

The unknown artist was able to capture the full scope of the rapture and terror of the Tamaran’s beliefs in this portrait. The Chrot e’ Fil in the center of the circle of life, the eyes of the Carrier on either side of the torch – one open, one closed - the soaring spirit to the upper right and the chaos to the left…a rare and beautiful glimpse at the lore of a lost culture.

Originally uncovered in Athens in 1868 by an archaelogical team from the University of Munich led by Prof. von Trapp, the origins of this piece remained uncertain until the reknowned Hellenic specialist Prof. Palthus at the University of Columbia uncovered relevant records among a collection of government archives.
These records indicate that in 490 BC according to the modern Gregorian calendar the Athenian general Miltiades presented this plaque to the parents of one of his soldiers, Phaedippas, who had performed extraordinary service to the Hellenes by running from Marathon to Athens to advise the city of the defeat of the Persian army on land, and to warn that Xerxes was likely to move against Athens by sea. Legend and these archives indicate that Phaedippas died of exhaustion shortly after delivering his message, but that because of his sacrifice the Persians did not manage to take Athens unawares.
The symbolic value of the imagery proved more difficult to determine than the original purpose, but the current consensus among Hellenic scholars relates the torch to the importance of fire as a method of communication, and in particular as a way for alerting people in an age well before radios or other telegraphs rendered visual communications largely obsolete. As the identity of the actual designer of this plaque remains unknown, as does his reasoning, this interpretation may be subject to revision subject to future revelations.

This craft sigil was originally displayed on the home and workshop of mason Meyler Ua Gormain (O’Gorman, c1134 - 1171) of Carlow, Leinster. Following the death of the infamous Dermot Mac Murchada (MacMurrough) in May, 1171, Richard “Strongbow” fitz Gilbert de Clare moved to secure his promised position as Lord of Leinster and was met with a general uprising of the Wexford Ostmen and Carlow Irish. A theft of supplies in Carlow involving the clever penetration of a stone depot cast suspicion on the small group of professional masons in the town, and Ua Gormain, by far the youngest, was deemed most likely to have been a participant in the sabotage. Without further evidence or consideration, Strongbow’s local lieutenant, Walter FitzHugh, personally escorted a squad of men to the mason’s home. Meyler was unceremoniously tied to his front door and flogged to death over the symbol of his livelihood. FitzHugh ordered the sigil removed from the door to be sent to Strongbow “for his threshold”. The outrage sparked by this event provoked some of the sharpest violence of the brief rebellion wherein FitzHugh was forced to a disfavored exile near Chepstow. The sigil was recovered during this time, but was kept hidden as the uprising was quelled. De Clare’s growing power prompted Henry II to land an army in Waterford in October of that year, to secure his holdings and cement the fealty of his now established errant knight. The expedition marks some of the earliest foundations of the bitter relationship and conflict that is today overshadowed yet unresolved.

The artifact was revealed to the parishioners of Darrowkill Church, Tullow, by Father Michael Ua Fergail (O’Farrell) c1184 and worked into the existing stonework of an alcove of the church building by an unknown artisan. The humble setting allowed the memorial to survive without defacement through the centuries until the untimely destruction of the landmark structure by hurricane Gabrielle (11/08/06), after which it was graciously donated by the Town of Carlow to the IHF, and is now a permanent member of the Requiem Eriu collection.

Readymade: Found object, chipped and cracked acrylic on rusted metal

Dimensions: 50" x 36"

Weight: 3.5 lbs.

Year Produced: Unknown. Circa 1950. Selected 2003.

Edition Size: Original as stated

Current Retail: $5100.00

Artwork Description:
This is from Mutt’s Readymade Revolutions series. Mutt channels his artistic vision into this sign selected from a scrap pile in a recycling center in New Jersey. It was then placed in a shallow hole, urinated on, buried and then dug up exactly 3 days later. The title bespeaks of a hidden conflict between the defunct American Oil Company (AMOCO), the logo of which this piece represents, and it’s subsequent demise/takeover or "war" at the hands of British Petroleum (BP.) Undercurrents of long standing rage and distrust between the two countries stemming from the Revolutionary War are thrust forth in this harrowingly brilliant yet subtle piece. The cracks and pitting in the enamel expose the deep and ugly avarice of American Capitalism. "RevOILutionary War" is the harbinger of the coming demise of America’s control over Oil and ,with it, its sway on the world stage. For Mutt, revenge is sweet, but revolution sweeter.

This next image was unearthed during the renovation of Greece for the upcoming Olympic games. It is believed to been created during the time of the original games hundreds of years ago. Though our archeologists are digging through records, currently there is no idea exactly who might have created this, or what name they might have given the piece. For the present we are labeling the work “Beacon of Hope”

For you see in the background a sense of darkness and gloom. And of hardship, the colors suggesting the artist might have literally put his life’s blood into this work. Also, while the cracks might be from time, one can imagine that they were instead intentional, perhaps a sign that the world – or the empire – is beginning to fall apart.

And yet, we feel we must direct your attention toward this, because the torch is what draws and holds your gaze. It is the proverbial light at the end of the tunnel, a symbol of comfort, of spirit, of the idea that people, and especially Greece, will survive even the darkest times. It is a moving tribute to the country expected to fetch a good price at the auction for funds for the 2004 Athens games.

On your left, please take a moment to enjoy this rather extraordinary piece that was recently added to the collection. This granite sculpture in relief is a work of ancient Greece, as evidenced by the proud Olympic torch blazing at center. Note, however, that this piece is not considered as belonging to the truly ancient Greek period, as it was made sometime in an early century A.D. Our historians know this because of the cross pattern made in the picture, by the olympic torch and the horizontal dark bar behind it. Greek Orthodox Christianity was beginning to permeate throughout the nation, and though the classic themes of the Olympics were still depicted in artwork, Christian Greek artists would find ways to subtly hide crosses in their artwork like in this one. Note the scrupulous attention to detail in the torch, and the addition of a burnished texture to the granite in the backdrop. An interesting trivia fact is that, desiring to emphasize the sweat and blood that went into the glorious Olympic trials, artists would purposely prick their fingers or hands and smear blood in key places on their sculptures. So that reddish stain that you think is rust or decay is actually the blood of the artist. It is an amazing literalization of the phrase 'the artist poured himself into his work.'

NOTE: This is a fabrication! I know that Greece was beginning to convert to the Byzantine church of Christianity about this time, but the rest I made up!

Image title: Freedom and Failure
Time period: Early Roman Empire
Artist: Unknown

The artwork shown was recovered from an ancient city in Rome named Arthilian on February 6th, 1956 by Dr. Jonathan Walker. Although the artist of this peice is unknown, the spirit of his or her work lives on.

Many who have looked at this peice feal a sense of both freedom and struggle. As was said by the man who unearthed this treasure, Dr. Jonathan Walker. The following is an excerpt from Dr. Walker's feelings on this peice:

"As any man who is born in a world of both positive and negative influences, we all must come to terms with ourselves. The artist of this peice, in my opinion, shows the fierce struggle between those postive and negative influences. In the center of the circle resides a torch, which can represent freedom and power. While the blood stains around it can show the struggle it takes oneself to be free. To hold the torch of light through pain and evil is the greatest strength we have in this time."

Although tablets of this kind were prevalent throughout ancient North America during much of the 20th century, hydrocarbon dating places this specimen late in the Reagan dynasty. This is just prior to the reign of Bush I, later known as Bush the Elder. The design is called “Amoco” and was once a symbol of great power and influence.

Titled "The Struggle of Arcinox", 4x3' mixed media on ceramic tile. Artist unknown.

This painting was recovered from a farmer's field in Northern Greece and was the impetus for Sir Samuel's infamous archaeological excavation of the area. While Samuel initially ascribed this work to Didronaeus the elder, more recent discoveries have indicated that it is more likely the work of an as of yet unnamed artist.

The work recounts the story of "The Struggle of Arcinox", a lesser known parable in which a town fire tender, Arcinox, stumbles upon the god Erondon practicing the discus. Erondon teachs Arcinox to throw the discus but Arcinox must still struggle to compete in the town contests because of his family history.

At the end of the first century a small group known as the Atonement was formed under the direct control of the Roman emperor Domitian. They were charged with the "purification" of those who were accused of being of the devil.

The purification normally consisted of a ritual eviscerating of the accused in order to remove the evil spirits. Once the ritual was complete they would mark the door of the accused with the burning torch symbol to warn others of the evil within.