Angels, Soul and Rebirth

Abstract

Luce Irigaray has criticised Western culture for forgetting the existence of the Goddess, woman and nature. She discusses ‘the capacity for withdrawing from a universe which does not correspond to oneself, for taking time to experience what or who one is, for inventing ways of expressing oneself, for acting according to one’s own values, and also for entering into relation with the other, respecting both oneself and this other’.¹ Warner’s Angel Project in Perth, Australia invites the spectator to take as much time as she/he wishes to experience the self and in relation to a twenty-first century world of globalisation, the Internet and developing technologies. I want to argue, that in Warner’s re-framing of the theatrical in the crossover of art installation and performance, and in the form of the walk, the thirteen sited buildings and the everyday city space, that the spectator is given the chance to spiritually become, to self-compose a poetics, emerging and transforming to the spectator-performer-protagonist of the work.