6.07 I’m not sure what it means but I’ll go with it

Erika Senft Miller

I am not sure what this means but I’ll go with it.

I find myself fixed on certain points

And one thing leads to the next
One step to the next
One breath to the next

And one thing leads to the next

The road to Emmaus
A concrete wall
Finding hope in the cracks of solid grey
Ripples in the angular
That’s where my fingers pause and feel traction

Where the landscape shows us the way
The road of Emmaus
Are our lives pilgrimages of our destiny?


Are we asked to educate our surroundings -educere - to draw out
Or do our surroundings educate us?

Education - divination - the challenge to find the questions
The courage to ask the questions

Don’t let your fingers slip away from the cracks of solid grey

Dig deeper
Push harder

“This is the body - Last harvest”

I am not sure what this means but I’ll go with it.
Video taken on iPhone 7; graphite; words typed on laptop; colored pencils and grasses on paper


I received Alexandria’s email with the file that holds the work, the message for me to play with and work from to continue the thread, the wave of divination passed down the line of artists. I have been following Tele- Magazine’s work since its first issue and have been looking forward to this moment. After all, isn’t all communication and interaction in the web of life like this: we are given cues, information and inspiration and see what our brain can pick up, what resonates with us, and process what we understand? All this adds up to a filtered and processed version of what was sent to us. I am always curious what the message looked like from the sender’s perspective.

Divination: the file that landed in my inbox feels like a spirit animal crossing my path in order to convey a message for me. Yes, I do very firmly believe in the notion of animals showing up in our lives with a message - a divination of sorts. I opened the file to take a quick first glance while noticing my gut reaction during the 7-minute long video. I then made a mental note on what of the video stayed with me, an hour later and the morning after sleeping on it. I often do my best work in my sleep when my consciousness can’t interfere. What stuck with me from my first video viewing: Travel experiences from Seoul, following a path in a new environment with senses wide open. The rectangular shapes in the video - not sure yet .. looks striking though. I googled Divination in South Korea and came across references to Korea's blind seers. The notion of blind diviners made me think of the texture of a landscape and how we have to slow down in order to understand something by the nuances of texture and touch. Then I remembered the practice of geomancy: The word "geomancy", from Late Greek geōmanteía, translates literally to "foresight by earth".

Until now, it wasn’t clear to me what medium I would be working in. Dance in nature seemed the most obvious, but I was curious what else would surface. After reading about geomancy and the blind diviners, I took a drawing pad, some colored pencils and a thick graphite stick and walked outside. I live in nature, surrounded by trees and rocks. To my surprise I found myself paused in front of a concrete wall that holds our septic field and serves as a visual connector between man-made structure and nature. It’s liminality in a structure, a bridge between two worlds. Just like a diviner. The wall, which is about 20 years old, has a crack. I always saw this crack as one line. I found myself holding a piece of paper over the crack and creating a frottage by rubbing the thick graphite stick over the crack, one paper after the other all the way from top to bottom of the wall. I was thinking about the blind diviners as I felt the nuanced texture under the graphite stick. The frottage clearly showed the space between the crack and two lines. A new way of seeing the crack and now the space between…

Back at my computer and research on Geomancy: There are geomantic figures- diagrams or tableaus- that consist of squares in different arrangements and sizes. These arrangements make me think of the rectangular color blocks in the video superimposed on landscape and city scenes.

Watching the video again: I wanted to know more about:

  • Vishwakarman: Hindu god. He is also called the divine carpenter, is the Personification of ultimate reality and deity of the creative power, and is considered the architect, the divine engineer of the universe from before the advent of time.

  • “Transfigure the body yourself” trans·fig·ure verb
    1) transform into something more beautiful or elevated.
    2) The transfiguration of Jesus is a story told in the New Testament when Jesus is transfigured and becomes radiant in glory upon a mountain.
    3) The Apostles' experience at the Transfiguration reminds us that no matter how powerful a spiritual experience is, the time comes when we have to come down off the mountain and rejoin our everyday life. But when we do so, we need to do it as a changed person
    4) In the Byzantine view the Transfiguration is not only a feast in honor of Jesus, but a feast of the Holy Trinity, for all three Persons of the Trinity are interpreted as being present at that moment: God the Father spoke from heaven; God the Son was the one being transfigured, and God the Holy Spirit was present in the. . .
    5) What happened at the Transfiguration? Feast of the Transfiguration, Christian commemoration of the occasion upon which Jesus Christ took three of his disciples, Peter, James, and John, up on a mountain, where Moses and Elijah appeared and Jesus was transfigured, his face and clothes becoming dazzlingly bright (Mark 9:2–13; Matthew 17:1–13; Luke 9:28–36).

—Erika Senft Miller


Erika Senft Miller is an interdisciplinary performance artist and creator of collaborative multi-sensory experiences. Her work, set in unique physical sites, employs a complement of art forms that foster exploration, and that invite empathy and connection within the context of large-scale performance. Senft Miller speaks five languages and has relocated seventeen times, both inform her creative interaction with people and her site specific work. She has performed in the United States and Europe, and has spent over twenty years teaching in universities, theaters, businesses, and community centers. Senft Miller trained in dance theater with Fe Reichelt, and holds a doctorate in Dance Education, a masters in Physical Therapy as well as a bachelors in communication. She is also a certified teacher of The Alexander Technique.
Instagram: @erikasenftm

Artist Statement

I work and play with all the senses from a place of free will (and free won’t). Just like life, my art seeks to draw us together with our full physicality, and our mind and soul. When my work is successful we meet in the liminal space of the creative process we call art. To effect this meeting, I take people on adventures where the ordinary becomes extraordinary, where work becomes play, where senses come alive and perspectives shift. I know that when we see the road ahead (new terrain, new technology, new opportunities) we see it with eyes, body and brain that are shaped by our past. We continuously reference, judge, and scale what we see to our prior experiences, proceeding from limited perspectives and scared souls. When we locate our “stand–point”— our perspectives, habits and experiences--in a larger context, we become able first to see and then to consider perspectives, possibilities, and paths previously outside our visual fields. Such encounters with larger context leads us to the uncharted territory of growth, adventure and freedom, the place where exploration and play, and the chance to become truly human begin to unfold.