Architecture is the art which so disposes and adorns the edifices raised by man, for whatever uses, that the sight of them may contribute to his mental health, power and pleasure.
— John Ruskin

Robert Lord

Colour Work


Margaret Shillan

Work inspired by Goethean science


These are some of the paintings I had in the exhibition during the architecture conference.  I have always worked from colour and been inspired by nature.  Since I started, over twenty years ago, following the processes and journey within Goethean science everything has become much richer and fuller.

The blackthorn, hellebore, ash and thistle paintings are all the end result of a Goethean workshop. The thistle painting was also inspired by Ted Hughes' poem 'Thistles'. The sunset series works with time as well, sketches being done every ten minutes as the sun was setting, leading to the two moods. I have really found that you come to a very different result if you have gone through this Goethean journey.


Gertraud Goodwin

The Metamorphosis of the Cross

The Cycle of the Christian Festivals Expressed through Sculptural Gestures

Worked from Easter 2012 to Easter 2013



Every development has its very individual inherent driving force and goal, which prepares and manifests its particular transformational steps.  In this metamorphosis, the driving force is the Christ Being Himself, His birth, life, death and resurrection, all an expression of the most sublime and archetypal metamorphosis.

The sculptural gestures come out of my own preoccupation and effort to feel and understand these steps of the highest order, and can only be a humble offering of a felt recognition.

Man is a cross himself so that he may never forget his tow-fold origin: his verticality from the Spirit, his horizontality from the earth.  At a time when man became forgetful about his origin, the Christ Being came to earth to renew the life forces of the earth and of man.  In recognition of this deed and out of a wish to foster it, these sculptures are made.

The crossing in this sequence is meant as an activity of being touched to such an extent that one feels crossed – meaning, that a real change has occurred inside oneself.  In this sense, the crossing has become the major activity in each form.

Making sculptural gestures for these stages was a quest to go inside myself, asking what the sensations in my chest region actually would come to if I were to try and give them a shape. It was a humbling experience as I can only create what has fully become my own.  But simplicity can become a joy and release: to bring clarity and an essence to the gestures helped me to deepen and intensify my relationship with every festival time.


A rising upward from gravity into levity marks the overture of the cycle.  This rising establishes the verticality which is the basis for everything else to come.  Everything will depend on it: the impulse of longing for the light and to reconnect with its origin.  The form gesture carries the inscribed cross from the earth horizontally upwards, finally opening to prepare itself to receive a space from above.  Matter rises up, space comes down.

It is a process of preparation towards the crossing, carrying all that is necessary within itself like the seed of a plant.  But it can only come to an unfolding if the right conditions are made for it.


On the basis of the foregoing preparation, the sculptural gesture is strong enough to open itself, becoming a vessel for the most sublime content.  The strength of the verticality allows the negative space to enter deeply and to be held in a humble gesture of giving security and a simple presence.  Above, the gesture has widened itself into a warm welcome without taking possession.  It is meant to be a gesture of love without ownership, a chaste holding.  Out of a space in between (previous form) has become an inner space.  A crossing of mutual agreement, support and acceptance has come about, a sculptural gesture of an inner readiness to receive.


The gesture of receiving has strengthened and matured to such a degree that it is now ready to receive a new entity into itself like in a fructification.  The sculptural gesture is both an intensified inner space as well as an outer space – a stretch which can only be made by the double-bent surface.  It is the moment of two very different and individual entities: one the earthly vessel, the other the spirit seed finding its new home.

The first three steps had to do with receiving and increasing intensification.  Three months later, spanning 30 years of the life of Christ, a step of metamorphosis of an enormous magnitude and significance is brought about.  It is the ultimate test for what went before, the greatest stretch possible.

Good Friday

Like a sentinel the asymmetric cross stands tall and mighty, the movement of the planes communicating between each other, proclaiming this deed into every direction of space.  Even in its asymmetry, the crossing emanates a severe finality.  All that was tender, receptive and embracing before is now dense and concentrated.  There can be no doubt about its finality.

Easter Saturday

The experience of the crossing is now to be communicated deeply into the earth.  It is again the verticality which holds the connection between the spirit realm and the earth.  So no matter how deeply the descent into the earth will be, that connection will always be there.  This crossing is a communication of its essence to every physical particle, thus spiritualising the earth.

The crossing in its consequentiality and concentration of interlocking planes is interpenetrating matter substantially.

Easter Sunday

After this strongest contraction, a great releasing expansion is possible.  Sculpturally, an expanding double-bent surface rises upwards and spreads outwards into the circumference, into all directions of space.  Through the new movements and rhythms, the extended planes cross each other at all angles, thus creating a joyful network of link-lines and link-planes, a victorious communication to the world.


There are two more steps of Christ’s transformation so that his forces can become fully available to man on earth.  These are building a spiritual substance, a source of life for the earth, man and the cosmos.

Sculpturally, the plane swings upwards and outwards, almost turning itself inside out, to dedicate itself fully to the surrounding, like impregnating this circumference with its moving crossing.


The culmination of Christ’s metamorphosis is the building of a new centre, towards which and out of which streams and rays of forces make their way individually.  Sculpturally this new centre is a circular opening, towards which all movements from the periphery and around orientate, order and congregate themselves.

The power of the circle and its rays expresses its strength even in its asymmetry.  The proud verticality in the centre gives the mean and orientating for all the other rays, no matter from which direction they are coming.

St. John’s

Through the previous experience a single individual standpoint can now be taken in full responsibility.  The form begins to reach down to the ground to stand up for itself.  From there it rises upwards, like a gatekeeper protecting the space in between.  The two ‘gate posts’ then turn outwards and widen into a chalice like gesture which rises upwards and around, holding and protecting the radiating transparent inner space.  The whole gesture stands in a cross, matter and open space are interpenetrating each other.


The culmination is achieved through a gesture which stands tall and strong, in moving communication with all the directions of space around itself, holding and protecting the inner space.

The double-bent plane engages in the wind of the times: a gesture of a wakeful and open presence, receiving, intensifying, beckoning.