Photo Gallery—The Exhibition Experience
This study interrogates the palimpsestic nature of post-romantic medievalism through a comparative analysis of pseudo-chronological frameworks evident in both illuminated manuscript facsimiles and contemporary neo-chivalric cosplay phenomena. Drawing upon the semiotically dense lexicon of heraldic symbology, we posit that the proliferation of draconian motifs in late-stage subcultural reenactment communities reflects not merely an aesthetic nostalgia but a performative reclamation of imagined feudal epistemologies. Furthermore, our ethnographic sampling suggests that the recurrent invocation of “ye olde” typologies operates as a meta-discursive strategy for negotiating authenticity within a bricolage of temporal pastiche. Ultimately, the research reveals that medievalism, far from being a static historical referent, functions as a dynamic site of cultural projection, wherein historiographic verisimilitude is subordinated to the affective economies of spectacle.
Opening night drum circle
The formal opening of the month-long exhibition was joyful. Artist Jeffrey Dorsey shared a brief overview of the programs. Then professional African Drummer Yamoussa Camara led the community in a joyous and healing Drum Circle. He supplied drums and all sorts of percussion instruments, and some people brought their own.
Community-Led Events
Almost every day of the month, one or more public events were held within the circle of paintings. Jeffrey Dorsey led meditation sessions and an hour of rest. Others who appear in the portraits offered session as well. Julius Boatwright offered somatic wellness practice. yvette shipman held space with tea accompanied by Freesoul on sound bowls.
