LUPAMBULUS

Bearer of Love

Background

Around 500 years ago, the Wintring priory church of the Premonstratensian monks from Wadgassen was dedicated to St. Wolfgang. The tribute paid to the saint was apparently based on the virtues that characterized his way of life. Not least because of his humanistic attitude to life, he was venerated locally as a bearer of hope from the late Middle Ages until the 18th century.

The motives that led to the appointment of St. Wolfgang as the patron saint of the priory church in Wintringen are not known. The clues that can be deduced from the saint's biography in conjunction with contemporary events in the 16th and 17th centuries became the starting point for an exploratory search movement that was to transfer a new way of thinking about virtues and the formation of the heart into the present day through the language of art.

Title of the art project

"Lupambulus" is the Latin form of the name "Wolfgang", which is made up of the Latin words "lupus" [wolf] and "ambulare" [to go, to wander]. The unusual and mysterious Latin translation of this name provided the title of an art project that was intended to shed light on the reasons for the invocation of St. Wolfgang in the church in Wintringen right up to the present day.

Content and methodology of the search movement

The approach of the art project followed the idea of artistic research to explore new findings on the topic in order to reflect on them in an artistic way in the here and now. Various artistic and art-scientific methods were used in a process-oriented manner.

As with all art projects previously realized at the Cultural site Wintringer Chapel, this artistic search movement was directed towards the question of the extent to which socially relevant and socio-cultural aspects can still be ignited today through the language of art from a theme that was indigenous to the site in the past.

The importance of a saint as a patron saint and role model?

The question of the significance of St. Wolfgang as the patron saint of the town in the late Middle Ages has not previously been the subject of an art project. However, a closer look reveals exciting questions: Was he a guiding figure for the people in a time full of upheaval? To what extent was his art of living anticipated? Did he become a role model for a way of life whose values, goals and actions should also inspire one's own life in order to be healing, redeeming [from sins] for the soul, as it were?

By means of a reflective and exploratory artistic approach, the question of the credo with which the patrocinium [from the Latin patrocinium 'support'] of St. Wolfgang gave spiritual support and meaning to the people in the 16th/17th century in the Wintringen priory church was investigated.

It has been proven that the saint provided people with a role model for their own lives due to his kind and philanthropic nature. His art of living and credibly practising virtues was a glimmer of hope for many people.

Longing for a new order

In the late Middle Ages, the cult of St. Wolfgang spread like wildfire, giving him the pathos of a European figure of light. A look back at the time of the invocation of St. Wolfgang in Wintringen gave an idea of how social problems, which were also influenced by poverty and power-political eruptions such as the Peasants' Wars at that time, still have a socio-political relevance today in a different form. Similar to the present day, the period from the end of the Middle Ages to the 17th century was characterized by upheaval and a changing world order. Driven by pressing issues, topics such as humanity, human rights, abuse of power, inequality and solidarity were already being discussed at the time. As if renewed, this search movement continues to tie in with current challenges. Fears of death, poverty, illness, war, but also the loss of meaning and purpose in earthly life continue to play a decisive role in people's emotional state.

Transformation through the language of art

The central objective of the art project was to concretize the conventions and truths about the role of the figure of the saint in the past and, if appropriate, to transform them into a contemporary understanding through the language of art.

The project investigated whether a matrix of core mental states in human existence can be derived from the essences of St. Wolfgang's "art of living" using the language of art. With this focus, the question arises as to what makes people fit for life in the current diverse social community.

Reaching up - Human life forms of St. Wolfgang

All the research led to the conclusion that the foundation for drawing the figure of St. Wolfgang through time by means of new images is essentially virtues that have been exemplified. These were already attributed to him during his lifetime and passed down through generations as a role model. Twelve virtues were selected from the many and varied character traits which, according to the source research, correspond to St. Wolfgang and which show a high degree of probability with the traditional nature and charisma of the saint:

Love | Mercy | Faith | Respect | Patience | Truthfulness | Justice | Prudence | Peacefulness | Humility | Temperance | Wisdom

[The training field: Ethical life training and image reflection in everyday life. The promotion of self-thinking with regard to responsible action is based on the energy with which an examination of values in one's own life context takes place and a deepened awareness of certain virtues in everyday life is created. In combination with the imagery, the virtues assigned to St. Wolfgang provide a mental training ground for everyday life. A ritual is recommended, which can take place on site at the Cultural site Wintringer Chapel, but also with the support of the virtual representation, in order to devote a moment to the following content in an undivided "devotion" [pause | reflection on the content and images | awareness]:

Love: The unconditional affection and care for others.
Mercy: To be aware of the suffering and need of other people and to actively help through action instead of just feeling pity.
Faith: Trust in something higher and one's own conviction.
Respect: Appreciation of other living beings and their boundaries.
Patience: The ability to remain calm and composed, even under difficult circumstances.
Truthfulness: The inner attitude of thinking and acting with honesty and sincerity.
Justice: The endeavor to act fairly and impartially.
Prudence: The ability to control oneself and to act in a considered manner.
Peaceableness: The endeavor to avoid conflicts and to create peace.
Humility: An attitude of modesty, respect and openness.
Moderation: The ability to maintain moderation, avoid extremes, curb one's own desires and feelings in order to find an inner center and live in balance.
Wisdom: The ability to use knowledge and experience to make smart decisions.

Transfer, communication and interpretation of insights and knowledge modules gained in artistic/aesthetic forms of expression

The knowledge gained on the subject became the starting point for an artistically designed visual language in order to give viewers a completely new perspective on the subject from the depths of time. Source research, art historical analyses and the application of various experiments from other scientific disciplines provided the basis for these new artistic/aesthetic forms of expression. The resulting image formats are presented in the chapel in various forms and positions in order to increase receptivity to a message that transcends time and to invite discussion:

The Bishop - Lupambulus

Topic: Representatives for the visual language of the 16th century.
Position: Installation in front of the portal of the sacristy

At the center is a wooden sculpture of Saint Wolfgang from the 16th century, which was acquired after a long search. As an authentic "representative", this sculpture - "Lupambulus" - takes over the lost historical imagery that was used by the faithful in the church in the 16th century. In a first step, the wooden sculpture was analyzed from an art historical perspective and then became the starting point for various experiments to convey new "images" into the present. To this end, the work was examined radiologically and involved as a representative in a systemic constellation work.

"X-Ray" radiological examinations

Topic: introspection, visualization with new technology

In the first experiment, radiological examinations were used to draw conclusions about further possibilities for interpreting the artistic and sensual significance of the sculpture. The Xcare radiology department at St. Ingbert District Hospital was kind enough to take both X-ray images and a computer tomography scan of the bishop's sculpture.

The pictures revealed the previously invisible with a highly aesthetic character and conjured up a completely new feel of the bishop. Most comparable to a pen and ink drawing, the resulting images accentuated the figure of the bishop as both an interior and exterior view. The invisible light revealed something that brought to light a completely new aesthetic on the emotional level of the visual language beneath the objective surface.

The bishop's cross

Topic: Direction and measure
Position: In the installation of the church window

Under the shoulder area of the bishop's cloak, the X-ray image also highlights another interpretable sign: a simple cross in the shape of the primal cross [Crux immissa quadrata] with four arms of equal length. An archaic symbol from pre-Christian times: a crossing of two lines that come from the open and extend into the open to indicate a connection between heaven and earth and for direction and measurement. Space and time overlap at the point of intersection.

The painting ground

Topic: Background / intuition through energetically generated painting based on color findings

Based on contemporary colors, a "painting ground" was created through a process of energetic painting. The colors are based on findings from the remains of the ceiling painting and the setting of the bishop's sculpture. The process created both a unifying pictorial composition and a further intuitive approach to the theme.

Design of the church window

Topic: Releasing the "inner energy" of the work
Position: Installation in the church window above the portal of the sacristy

The painting ground was provided by the coloring of the digital processing of an X-ray image. A section captured with these colors focuses on the unusual folds of the sculpture of the "Lupambulus".

The deeply sinking folds of the robes apparently conceal certain areas and reveal others. The multi-layered nature of the bishop's vestments and the folds that emerge above them were revealed in the X-ray images in an unpredictable transparency and subtlety, making this metaphorical meaning clear. Inside and outside, introversion and extraversion become the subject. Barely visible areas became luminous, comparable to a figurative [water] sign. The impression was created as if the artist wanted to symbolize that certain things in the course of life are profound or difficult to see through and require patience and composure.

The inference from this interpretation of the sculpture's drapery allows the assumption that only in the light of a higher consciousness can a holistic view of the raison d'être and the mission of life be revealed on this spiritual path.

By digitally processing the X-ray images, it was possible to accentuate the play of folds in the bishop's vestments and transform them on a metaphorical level into a precisely fitting light image. The colorful background of the window image was provided by a painting in contemporary colors. This image was transferred to the church window above the gate to the sacristy.

The experiment led to a dematerialization of the sculpture and thus allowed a completely new visual perception of the work. Literally, the invisible light opened up an insight into the hidden world of the sculpture's inner life, which radiates outwards.

Note: A complete image of the X-ray image is displayed in a sacrament niche

Position: Installation in the right-hand niche in the choir

Methodology: "Systemic constellation" in analog application

Topic: Reconnection to another time

Another experiment consisted of an analogous application of systemic constellation work. To apply this method, several people were first presented with the life of St. Wolfgang, the reasons for his invocation as a saint and the history of the priory of Wintringen, in which the mention of the saint also plays a role.

To this end, several people were interviewed about the emotional impact of the sculpture and the X-ray images. These initial interviews revealed that prolonged contemplation of the sculpture and the X-ray images can trigger a reconnection to another time. The sculpture was accepted by all respondents as an equivalent representative of a lost contemporary depiction of St. Wolfgang in the Wintringen church. When asked which human traits the sculpture conveys - in the sense of character traits - on closer inspection, there was a surprising correspondence with the characteristics that are also attributed to St. Wolfgang, above all humanity, love, humility and wisdom.

The poetic central idea

Topic: Lyrical approach
Position: Inscription on the pedestal of the bishop's sculpture

In order to link the traditional invocation of St. Wolfgang with the moment in a further emotional confrontation, a "thought dance" developed into a work of poetry that became the poetic guiding principle of the art project:

Photographic experiment

Topic: Symbolically blurring time boundaries I Assignment of the 12 virtues

An important further step in bringing the rather abstract idea of the twelve ancestral virtues of St. Wolfgang into the present day was based on the medium of photography. This medium was intended to blur the boundaries of time. To this end, the sculpture of the bishop as a contemporary representative of the saint was placed in a photographic relationship with the background. Photographic techniques were used to play with the intensity of the coloring and the creation of selective blurring. The aim was to literally defuse the view of what is currently visible in order to symbolically blur the boundaries of time. The starting point of the photographic depth view was the extraordinary physiognomy of the head of the 16th century bishop's sculpture. In the blur created by the analog technique ["bokeh" technique; Japanese haze] against the background of the colorful power of the painting ground, image portraits were created that evoke a new observation. In free presumption, to what extent the photographs can stand for the shining through of the spiritual-emotional talent of St. Wolfgang, twelve [blurred] photographs were assigned to the twelve virtues and a "portrait" of the sculptor was created.

The floor quote

Topic: Bringing 12 virtues (spiritual narratives) into connection with groundedness
Position: On the floor next to the choir arch at the rear exit

The twelve photographically created "virtue images" of St. Wolfgang became an integral part of a floor installation. For this purpose, preserved historical clay tiles from the 16th century chapel were reactivated for a floor quote in order to depict the spiritual narratives that have been photographically articulated in the twelve virtue images.

A movable frame was developed for the floor quote in which the historical clay tiles, which were originally laid in a bed of sand, were inserted. In twelve recesses in the same format, picture carriers with the photographic works on the twelve virtues of St. Wolfgang were added. A matrix in the lower window of the northern side arcade shows the assignment of the virtues depicted in an alienated manner. The floor quotation is shown next to it.

Figurative sign [turning] momentum

Theme: Energy that drives you to look at life from new angles again and again
Position: Installation next to the choir arch at the main entrance

The bishop's sculpture was also subjected to a computer tomography scan during the radiological examination experiment at Xcare in St. Ingbert District Hospital. The result was a sequence of three-dimensional images of the sculpture, which now began to rotate on the screen, revealing ever new snapshots of the bishop as it was x-rayed. The unusual individual shots generated a series of image moments that, in their relentlessness, were reminiscent of a flowing movement through time. An energy that drives us to constantly look at life from new angles in order to draw conclusions about how life can be shaped? The static version of the photo series provided the idea of assigning each of the twelve virtues assigned to St. Wolfgang as part of the artistic process to a torque. Torques that allow viewers to visually explore the variety of options in order to create space for reflection. For twelve of the snapshots, a color from the color canon of the UNSECO Bliesgau Biosphere Reserve was chosen to visually emphasize the twelve virtues?

EPILOG

The idea of generating more knowledge about the significance of St. Wolfgang as the patron saint of the Wintringen church by applying the methodology of artistic research and developing projects from this was both exciting and worthwhile. The focus was not on production, but on experiments in which something unpredictable happened. The interweaving of scientific and artistic practices led to a visual language that would not have been possible without this methodical approach. The newly created knowledge modules and images now offer a new form of perception and appropriation of reality on the subject.

The Latin translation of the name Wolfgang - Lupambulus - has given the artistic process a mysterious and cheerful character. New images and signs for reality were uncovered from past messages that were embedded a long time ago in the remains of a former priory church via the illuminated figure of St. Wolfgang as part of an artistic search movement: Love as a basic understanding between people. Formation of the heart in the mirror of art in everyday life.

The ideals that St. Wolfgang revealed to seekers in the Wintringen church as a "role model" and also through the language of art [sculpture, painting] were analyzed sufficiently and comprehensibly in the course of the project and assigned to twelve corresponding virtues.

The now uncovered emotional "field of action", which was revealed to the searching people in the Wintringen church over 500 years through traditions and artistically designed images of St. Wolfgang, could be transformed into the present in a poetic-artistic visual language on site, as part of a multi-part installation of pictorial works.

The examination of the work in all its facets is an invitation to base one's own life and actions on a canon of values worthy of humanity and to uphold this against all odds.

The project makes it clear that the integration of art into this process can become an inspiring driving force that awakens the joy of experimentation and opens up unforeseeable new fields of vision.

However, the development and continuous refinement of this art of shaping life despite all contradictions is not an innate ability, but rather requires a very personal "all-day school without vacations", in which love becomes a basic understanding through meditation, prayer, nature experiences, art and interpersonal encounters.

Role models and the arts that reflect social challenges can play a decisive role in translating sustainable character traits and values into concrete action and consolidating one's own point of view. At the same time, this inspires a basis for social interaction as well as democratic and ecologically sustainable action.

The experience gained from this unusual art project underlines the idea of making a research-based approach the starting point and source of inspiration for art projects. Especially when it comes to integrating pressing issues into cultural education for sustainable development.

Thanks to Lupambulus!