About this project
Our soaring pyramid shaped Temple is comprised of interlocking wood pieces that fit together in geometric synergy. The main pyramid, four corner pyramids and surrounding courtyard are the centerpiece and structural foundation for the Temple of Whollyness and will literally “Frame Space” to help focus the spiritual energy for Burning Man participants.
We have instituted our second Kickstarter campaign to fund some operational costs that were not covered by our previous fundraising efforts. These additional expenses include the materials to insure a safe, beautiful, timely, and clean burn as well as making sure the Temple leaves no playa burn scars or any trace. This is our first burn so we did not anticipate the magnitude of these preventative measures. Our decomposed granite coverage (to protect the playa floor) and additional wood (to fuel the flames) are the bulk of these unanticipated costs.
Also, our current Kickstarter campaign is an opportunity to introduce and honor the combined efforts of several contributing artists. Recognizing that, in many sacred places - cathedrals, temples, mosques, and in nature - special works of art from master craftsmen are incorporated into the overall design elements with the intention of complementing and amplifying the connection to spiritual space via our senses. Typically, they are crafted from an array of materials that inspire creativity - stone in sculptures, textiles in tapestries and carpets, metals in bells and gongs, glass in stained glass windows and fire in offering candles.
In the spirit of collaboration, we’ve invited a group of artists to join us to help make this year’s Temple whole. To learn more details about the contributing artists, please follow our Temple blog where we will be highlighting all of them over these next months. Here’s a short introduction to their work:
STONE: We are creating a stone sculpture that will act as our conceptual “altar” and the axis mundi for the Temple. A talented artist and stone choreographer, James LaFemina (aka Jael), is sculpting a massive 24-ton, 15 foot tall black igneous basalt stone Inuksuk sculpture - an Inuit symbol of a person’s spirit composed of stacked rocks in a human form often used as a navigational aid. Their traditional meaning is “you are on the right path” and it will focus energy, provide a place for self reflection, and ground our temple atmosphere.
TEXTILES: We approached textile artists, quilters, weavers, knitters, seamstresses, etc. to design functional yet artistic shade. This group effort will be led by Bunnie Reiss, and her design team - Abi Kelly, Carmel Dunlap, and Rachael Fisher- plus an array of volunteers. They will be designing 4,000 square feet of compelling shade that will be strategically placed over the courtyard surrounding the main temple pyramid, creating an environment where people can comfortably rest in the blazing mid-day sun and feel protected inside the Temple’s safe haven.
LIGHT: Bentley Meeker is a lighting artist who gifted his talent to the Temple of Transition in 2011. His motivation is “directed towards abetting the viewer to develop their relationship to light as sensibility rather than visibility.” His lighting design for the Temple of Whollyness is intended to echo the progression of man’s use of illumination from fire to the electric light, and to give participants an awareness of the five different types of light sources that have been used since the dawn of electric light: Edison tungsten, incandescent, halogen, fluorescent, and LED light so we will become increasingly aware of the quality of light and the role that light plays in our lives.
SOUND: If the Temple is art framing space, Aaron Taylor Kuffner’s creations are music that accent silence—the space between sounds and the space from which sound emerges and returns. Aaron Taylor designed the Gamelatron - the orchestra of gongs – that was part of the Temple of Transition two years ago, which heightened many participants' experiences. For this year’s Temple, he will be premiering an entirely new dimension of his work with gongs and robotics that centers on the ancient resonant power of the bass, using large royal bass hanging and kettle gongs (up to 105 cm and 100 lbs), titled Roh Ageng - the Great or Huge Spirit. These gongs, forged by Joko Darmono, one of the few remaining master gongsmiths in Java, literally change the way the air moves, creating a deep vibratory field, a reverent tonal presence.
FIRE: The Temple is the last significant fire gathering and the bookend of the event – the Temple will burn on Sunday September 1st at 8:00 pm. Burn Lead Dave Best (not the Temple builder David Best but the other Dave Best) - and the burn team of Jack Schroll, Dan Ramsauer, Germ plus the rest of the team at BlackRock FX - will help transport us since fire is an elemental part of Burning Man that we are drawn to on a most primal level – literally, like moths to flame. This experienced pyrotechnic team will design fire art that will be integral to burning the Temple structure and assist the ultimate spiritual release to mark our transformational 2013 experiences.
YOUR ARTISTIC CONTRIBUTIONS: Of course, all Burning Man participants are invited to write their special messages on, and bring their offerings to, the Temple of Whollyness, as well as their rituals, celebrations, ceremonies, dances, tributes, music, stories, and spirit! Please remember that large art pieces require Burning Man Artery placement. We encourage you to craft offerings out of green/burnable materials (no plastics or anything else that is a known toxin) so we do not create MOOP (Matter Out Of Place) that could potentially scar the Playa. Let’s all endeavor to Leave No Temple Trace at this magnificent wilderness setting.
Check out our rewards especially designed for our supporters – every dollar you donate makes you our partner! And please visit our Temple website and our Facebook page to get further details about our project. If you are interested in gifting the Temple a large single donation and would like it to be tax-deductible, please contact us directly at email@example.com THANK YOU!
Risks and challenges
Building any project in the unforgiving desert has substantial risks, from heat to dust storms to wind to finding out that there's an important part you need that can only be found several hours away. We have added sufficient time in our build schedule to ensure we can erect and finish our Temple before the gates open. With a new type of structure such as this, we also have to ensure it's strong enough -- so we have scheduled a test assembly of a portion of the structure, and our engineers will perform stress tests, and then we'll determine if we need to increase the dimensions of our struts. Yes, we have risks -- but we have a skilled team with a track record. In 2012 we built both the Pistil and the Otic Oasis -- two separate large scale art installations -- and on each build we finished a day ahead of schedule.Learn about accountability on Kickstarter
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