Blue Black Ecstasy: Ellen Gallagher's Watery Ecstatic, Oceanic Feeling, and Mysticism in the Flesh
Since 2001, visual artist Ellen Gallagher has been working on "Watery Ecstatic," an ongoing, expansive project that depicts real and imaginary underwater life through drawings, films, reliefs, and paintings. Thus far, this series - indeed, Gallagher's oeuvre - has not been studied by...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
Oxford University Press
2023
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| In: |
Journal of the American Academy of Religion
Year: 2023, Volume: 91, Issue: 2, Pages: 302-325 |
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Presumably Free Access Volltext (lizenzpflichtig) |
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| 520 | |a Since 2001, visual artist Ellen Gallagher has been working on "Watery Ecstatic," an ongoing, expansive project that depicts real and imaginary underwater life through drawings, films, reliefs, and paintings. Thus far, this series - indeed, Gallagher's oeuvre - has not been studied by scholars of religion. Arguing that the series provokes an extended conversation about mysticism, (para)religion, and constructions of blackness, humanness, and animality, this article addresses this lacuna. Placing the series in conversation with Sigmund Freud and Fred Moten, I argue that "Watery Ecstatic" displays a particular kind of mysticism that I call blue black mysticism: an experience of sociality that, in and through the oceanic, refuses the categorical distinctions and modes of identification that ground and mark normative and racialized ideations of humanness and subjectivity. I suggest, further, that blue black mysticism, because it engages the alterity of the ocean, offers a prime site to trouble the racialized, hierarchical boundary between human and nonhuman animals. | ||
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