In Papua New Guinea, mythology is woven through the diverse threads of the country’s many cultures and languages, offering a profound glimpse into the spiritual and cultural essence of its people. Central to this mythology are creation myths that narrate the origins of the world, humans, and nature, often involving powerful deities or ancestral spirits who shape the land and its inhabitants. The concept of masalai, or spirits, reflects a deep connection with the natural world, where spirits inhabit trees, rocks, and rivers, embodying both benevolent and malevolent forces. Myths are not just stories but are integrated into cultural practices and environmental respect, guiding social norms and rituals. From the highlands to the coast, these myths vary, reflecting the geographical and cultural diversity of Papua New Guinea. Each story and belief is a testament to the intricate relationship between the people and their land, revealing a dynamic world where the spiritual and physical realms are deeply interconnected.

 

‘Haus Door’ by Yuriyal Bridgeman references spiritual entities and figures in tales of sickness and health prominent in the artist’s homeland in the highlands of Papua New Guinea. The exhibition presents a set of three shield paintings from 2020, collectively titled "Crown," which are both portraits and sculptural objects, revealing the dual nature of protection and vulnerability through three urban legends. The shields, or ‘kuman’ in the Yuri language, stand as optical weapons that represent the self, acting as banners of defence against threats to personal safety, relationships, and freedom. The exhibition revisits these works, combining them with Bridgeman’s recent explorations into painting with tape, using this medium to expand his studies of shield paintings into architectural studies that cover the gallery’s walls.

 

The first shield, “Glas Man/ Kamnul Yal," illustrates the glass man, or Sanewalemawdu, a seer who, with supernatural vision, communicates with see sprites (wild, powerful, humanoid beings) and ancestors to diagnose illness and free trapped souls, embodying the role of mediator between the physical and mystical realms.  "Masalai Man/Kia Yal," represents the masalai, a shape-shifting spirit embodying nature's magic and unpredictability, appearing as a lizard, crocodile, or multi-headed creature, and symbolizing both power and vulnerability. The third shield, "Botol Man" depicts the botol meri, a dangerous shape-shifting spirit woman who lures and harms men with her sharp-toothed implements, highlighting the hidden dangers in seemingly alluring encounters.

 

Enveloping the shields is a dynamic series of tape paintings and reflective materials that probe the strategic play of communication when in combat or faced by mystical apparitions. The tape is employed like a web, remembering when the artist's body stretched and weaved the design onto the surface of the walls, making his mark, his sign, as both a warning and a defence mechanism. Bridgeman’s exploration of tape as a medium extends his study of shield designs into architectural realms, deeply rooted in the cultural fabric of his Yuri tribe from Simbu Province.

 

‘Haus Door’ offers stories of Papua New Guinea’s spiritual heritage, inviting viewers to contemplate their own narratives of protection, identity, and transformation. Sorcery and magic are part of daily life, with figures like the Glass Man—an enigmatic being capable of communicating with spirits—providing both protection and healing. As you leave Passage, you carry with you not just the vivid imagery of the shields and paintings, but a profound sense of the mystical connections that weave through our shared human experience.