Search Results for Water Dragon of Venice

Water Dragon of Venice – Exhibition in Zadar


Water dragon of Venice project was firs time presented in Galerija Fotografija Ljubljana and galleria of Italian Institute in Ljubljana 2015.WDV project was inspired from Venice lagoon. I spend a year there living on the boat since  I wanted to anchor new period of my life, but it turned out differently. Lagos inspired me to sail on into the seas of Mediterranean and connect in new ways… MED Land project followed…

Time-space-awernes cristalized in form of images is a record of ritual that starts with questions “WHY AND WHAT”  I know I am interested in spaces/places (like Venice lagoon, Mediterranean  islands,..) perceiving them as a living organisms, the sources, geniuslotci of evolving life on it. 

Venice was in the past mastering Mediterranean. The goods are not any more coming over the sea, but the sea itself is still giving the rhythm of life in the lagoon, six hours in…six hours out…

Somehow naturally WDV project evolved in MED Land project. Therefor in Zadar exhibition, an installation of photos, drowings and ceramic sculptures are expressing dimensions beyond Venice, as fare as Aegean islands and seas, as well as element of air.

About WDV project :

The series of photographs was created mainly in the period from July to December 2013 They are a reflection of my connection with the causal-elemental nature, and my search to connect with the active primal points of the space. In the past, the Venetian civilization was already attuned to many of these places, but some of them were once dormant. 

The images are stories – imprints of the pulse of life, which is not explicitly visible. They were revealed to me in a more material, conscious form, through photos. Through the process of the search-tuning-taking photos, I became conscious of new secrets of (my) world. I’m passing them forward not as facts, but only as information, reflecting my actual self. I am not alone in the universe. I interact with so many manifestations around me and within me, consciously or subconsciously. For me, the Dragon2 of Venice is primarily a water dragon… Life-water, Air-water, Fire-water and Earth-water, they are four of the pervading elements of the Dragon being.  >> more

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Posted by bojanb
5 years ago

Water Dragon of Venice

>22. 1. 2016<

GALERIJA FOTOGRAFIJA Ljubljana / 19thJanuary-20February 2016

The series of photographies were created mainly in the period from July to December 2013, and after.

They are reflection of my connection with causal-elemental nature, and my search for active primal places of the space. In the past Venetian civilisation was already tuned with these places. Photos I see as records/stories, which were revealed to me. They are stories of life pulse, which is not explicitly seen. Through the process of the search-tuning-taking photos I became conscious of new secrets of (my) world. I’m passing them forward.

For me, Dragon** of the  is first of all water dragon…Lifewater, Airwater, Firewater and Earthwater are for pervading elements of the dragon being. Dragon, with whom I connected, I could identify on certain placed in the Lagoon: on Torchello, Giudecca, San Lazzaro, San Servolo, Burano, San Francesco del Deserto, these water vastnesses, where I stayed for longer.

**Dragon – casual world of elemental life pulse of the Gaia; planet Earth.

Venice is the place, where I get married with the water. First days of July 2013, I again sailed back into Lagoon. From 1978 onward, in the period of more than 30 years, I spent all together more than one year living in Venice. In this time, I created photographies for four books of Marko Pogačnik, for three journalistic projects and for two art projects.

from 26 of January 2nd part exhibition was opened in Italian Institute for culture in Slovenia, Ljubljana, Breg 12. In the gallery of the Institute, photographies of Bojan Brecelj are complemented with 32 drawings of Marko Pogačnik: The sound of Church of San Giorgio Maggiore and other drawings of Venice.

Water Dragon of Venice, Med Land Project

Self-published art book: Water Dragon of Venice
Limited Edition of 123 signed and numbered copies
150 x 220 mm / Hardcover, Leporello binding, Handmade, inkjet prints on archive paper / 26 pages
Date of publication: 2016


In the deep past of Gaia’s evolution, “sparks“, asteroids … certain information from distant stars and galaxies … sparked the evolution where dragon forces developed as a living conscious form of Gaia. Venice is the place where I get married with the water. From 1978 onward, in the period of more than 30 years, I spent more than one year all together living in Venice. During this time, I created photos for four books by Marko Pogačnik, three journalistic projects and two art projects. In the first days of July 2013, I sailed back into the Lagoon … In my world, water is the essence of life or life itself – forming, transforming and sustaining structure which holds information. The rhythm, the processes and the motion of water is actually the presence of rivers – like the Nile, the Ganges, the Sepik, the Amazon – the presence of the lake … of the sea … and of the Venetian Lagoon … The Lagoon is one of my prime spaces to “sink” into the element of water.

Notes from September 30, 2013: the pull of the water … the connectivity with the seas … the information-inspiration that the water brings from the sea and rivers AND is exchanging over the water … AND not to forget that we are also water… but … here in Venice, in MY world, I started to recognize that the living being of the Lagoon water is actually dead, or at least very sick … this fact did not get into my living consciousness so easy … what is happening with me, as water self, while touching the water of the Lagoon… the basic relation with the underwater – the very source of life – is hardly connected to the elemental water, perceived as a life structure or intelligence, co-creating information and instantly passing them to the “almighty waters”. Water can carry countless information. Water transforms/regenerates very quickly. Water exists within and around us practically everywhere … water makes love each day with trillions and millions of sunbeams – beings from the sun – millions per second in one droplet … all of us, in fact all matter, contains water, with very small exceptions such as diamonds. Our connectedness – ONENESS – is physically manifested through water, which can transfer the information practically through everything, including the atmosphere, the soil … Everything contains water! We are water – the essence of life – and water in its sub molecular form “contains fire” and evaporation is a constantly present process. Now, in 2013, the Venetian Lagoon did not let me overlook itself, the very being – Lagoon, which lives in its space/canals, in the area of 550 km2. The Lagoon is constantly moving water. The sea moves in, in a strong current, six hours in and six hours out… and from the land, three rivers are blending in. The Lagoon is like a river, a natural complex being, continuously inspiring and feeding. The pattern, the current, the information that accumulates, transforms, dissolves, shares with the surrounding life, is actually the essence of what I mean by river, lake, sea, lagoon, stream … Venice was a republic for 1000 years (726–1797), and for 700 years, every year the Doge performed the most important ritual, “marriage with the sea”, a marriage of the Venetian Republic with the mighty living waters of the (Mediterranean) sea … by giving a golden ring to the sea. Here in the Lagoon, through communication with the water, as well as with Ivana Petan, who gave me the awareness of the air, I became aware of the complex being-living presence of the Venice Lagoon, which I named The Water Dragon of Venice.

Bojan Brecelj

project /concept and photography/ by : Bojan Brecelj in collaboration with Marko Pogačnik and Ivana Petan


With the support of  Italian cultural institute in Slovenia (financial realisation of the exhibition and book)) and many others financially, morally and with their concrete involvement in the process: Anuša Homec, Jelka Brecelj, Marika Pogačnik, Barbara Čeferin (Galerija Fotografija), Mario Vidal, Andrea Tagliapietra, Japec Jakopin, Anne Durufle, Violeta Bulc, Barbara Stupica, Ken Marquand, Marko Paš, Miran Srša … 

Bojan Brecelj • translations and proofreading: Tadej Turnšek, Mateja Kralj • graphic design: Petra Petan • printing: David Tavčar-Artiko • bookbinding: Tiporenesansa andLuminus
published by Bojan Brecelj and Italian Cultural Institute in Ljubljana

Realization of exhibitions : Italian cultural institute in Slovenia and Galerija Fotografija

NEW BOOKs from Venice where it ALL started

Get your copy of the NEW photo book on Venice, featuring photographs taken in 2020, which will be officially released on May 7th. You can secure your copy if you are an active Patron of the MED Land project or shop on theMED Land page!


Venice is the tip of the Mediterranean and the starting place of the MED Land project. I lived in Venice on Nalu (the project boat) for a year, and the outcome was different exhibitions and the book ”Water Dragon of Venice”. Seven year later, I felt the urge, a call to come back and witness Venice again. THE RESULT IS ALREADY PUBLISHED IN a photo book with English text by Marko Pogačnik. This time, it was a a simultaneous call of two, Marko Pogačnik and me. No wonder, really, since we already collaborated on 5 book projects about Venice. During 2020, Marko has been visiting Venice mostly telepathically, and wrote and drew a completely new vision of Venice, titled VENEDIG – EMBRYO DES NEUEN ERDENRAUMS (VENICE – EMBRYO OF THE NEW EARTH SPACE). The second book, which is complementary to this one, features a selection of 92 full-page images which were also created in 2020. This 2-in-1 bundle is published  in German by Neue Erde.

The English version is a photo book with short introductory text by Marko. It is a limited edition of 99 copies and a very high-quality print. 

English Version - ONE book > 92 photos/144 pages 27x20,5 cm, hard cover: VENICE-EMBRYO OF THE NEW EARTH SPACE 

NOW is the right time to get involved in the very important 2021 chapter of the project.

Boy your own copy on MED Land>get involved and money will go all for the project to live on. 

The book is priceless and free, but you can contribute 32 EUR + flat price postage (SLO 4 EUR, EU 7 EUR, USA 12 EUR).

An EVEN BETTER option, however, is to became a PATRON on Patreon Page and get the book with a 10 USD contribution only by limiting your monthly contribution to one month.


Support the publishing of the next story!

Released by MED Land project / film, photography, editing: BB  text editing - proofreading: Tadej Turnšek, godfather of the story Barbara Ćeferin

Posted by bojanb
a couple of years ago

Venice update

on 29 of December 2019 

Marko Pogačnik (author of many books about Venice) and Bojan, had a day trip to experinc Venice.

Venice is birth place of MED Land project as well as the home for the first year of the project, which was dedicated to Venice -lagon resulting in exhibition-Water dragon of Venice and Self-published art book , second 
layout  Water Dragon of Venice – Exhibition in Zadar


                                                                                                                                                                                   the present, in a transitional, transit time ; the present, which is part of the process and changes to come, is already happening and announcing new relationships and new arrangements (also) in the beingness of Venice 


Campo San Via

taking photos were for me, part of the process to get in touch with :

disbanded space

air landscape - appearing somewhere in between water and earth (disintegrating) space

parallel realties that I felt also in the past, but not the same !

Venice (lagon) is vital from its own roots and like many other “special”, intensive, sacred  spaces, inspires me to connect to Earth in the time of changes


Giudecca- Chiesa di Sant Efemia




Giudecca- Chiesa di Sant Efemia-garden


 Giudecca-Chiesa di Sant Efemia-garden


Convento SS. Cosma e Damiano


Convento SS. Cosma e Damiano,


Chiessa dela Redentore -Giudecca






San Pietro di Castello


San Pietro di Castello


Chiesa della Madonna dell'Orto

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Posted by bojanb
3 years ago

Natural space is fundamentally a free space..

Ivana Petan(the author of the story),

actively participated in the project many times and in many ways, from the very beginning and even before, helping to restore the boat, Nalu, that we are now using. She is a member of the core team. She expresses her creativity mainly in the form of ceramic art works, as well as with geomancy stone installations group projects.

As an artist, she participated in three MedLand-related exhibitions (1,2,3). As an expert in geomancy, she did her part in the story: a discourse with the island of Ikaria. On our 2021 trip, she did the entire observation of the places we visited. Her observations have left a strong mark, since so much is changing in the way we experience and bring into awareness our relations, especially with the land. The title of the project (MedLand) is about the land – the potential of the land, small or big, or the entire Mediterranean that changes through periods, along with our perceptions and relations with all other conscious life. Ivana's interactions go beyond, like looking behind the curtain :-)) 

Ivana Petan & BBimages

The present writing is a trace of this years' MedLand project. Visits to the agro-agriculture project Southern Lights in the Peloponnese, Zlatka, a Slovenian who has lived in the western part of Crete for more than 30 years and grows olive trees, and meeting a Cretan initiative for the revival of the importance of the carob tree were pre-planned. All other stops on the way connected the path into a semantic whole. The focus of this writing is not primarily on people, but rather on the natural space, seen and experienced through the eyes of geomancy. Natural space is fundamentally a free space; without names, borders, properties, coats of arms and flags, with its roots in the connection of different beings, forms, memories, wisdom, impulses, which with their unique breath co-create the harmony of life, approaching and distancing, with change as the only constant. In addition to visible physical materiality, nature also has its invisible energetic face: conscious beings who become visible through heart communication and intuition.

All writing is a personal experience of spaces I've visited: their qualities, the possibility of their connection and cooperation with each other and with humans, human contribution, and a presence of the impulse of the birth of some different world and existence in respect, co-creation and well-being of everything visible and invisible as a living whole.

The Ionian Islands. I experienced them as an energy door, a transition to the eastern part of the Mediterranean, which stimulates and significantly moves its whole. The Ionian Islands offer tempting gifts of the beauty of nature and people, of a friendly and decent life, as a lure to extend the journey to the

Aegean part of the Mediterranean,in which the rising sea depths potentiate everything else: the appearance of space, a sense of the elements, approach to life, its rules and myths that establish it, the determination and courage - not only for survival, but also for life. Due to its conditions and characteristics,living in the Aegean space of the Mediterranean requires deep perfection and awakens stronger emotions, decisions and binding promises.

However, before entering the Aegean Sea, rises another passage: the Peloponnese peninsula. A vast space of different landscapes and qualities. Although I have always respected it very much, it was only now that I slowly began to become aware of not only its width and height but also its depth. It proved to me to be the centre of the life energy of the entire Mediterranean. The Peloponnese being led me into its underworld that glows golden. Its core carries a balancing organ that appeared to me as a globe-shaped organ, incessantly dancing left-right, up-down, actively bringing and maintaining vital energy needed for power harmonization of the space, perpetually in motion. However, I sensed the blockage in the upward passage by a metal plate, and as a result, there is no cosmic impulse to cooperate with Gaia. Therefore, a balance organ is stopped in its motion, standing frozen and forgotten, speaking of forgetfulness of the crucial importance of natural space for human life, of their interdependence. Simultaneously, it awakens thinking about ways of active human change and establishing a new balance on the wings of cooperation and connection with nature, which enables respectful life of all human and nonhuman beings. I disconnected the plate and sent it into transformation into Gaia and performed a Tear of Grace for the Peloponnese. Like acid rain, a tear began to melt the metal plate. In its place, an empty white space opened up as the quality of a white goddess; of the new wholes ready to enter the red creative goddess phase.

Firs finger of Peloponnese

The westernmost Greek island is Othonoi. I see it in the shape of a small dragon with its head facing southeast. It appeared to my senses as an island of joy and permission to live. I experienced it as a space of powerful impulse for the new: when old ways of life are left behind, the opportunity for new ways of understanding, communicating, acting opens up. Othonoi is sending us a message that it is possible to come into contact with the possibilities of new possibilities of dwelling and consequently to see and realize the (not-yet-embodied) potentials.

As a symbol of the quality of the island, a being with arms outstretched towards the sky (as an inverted symbol of peace or a tree) appeared in my vision.

The symbol of the quality for the whole of islands Paxos and Anti Paxos, which were next islands along our way, appeared to me in the form of a rhombus. With its sides, the rhombus opens a space of individual inner rest, of gathering within, introverted activity inside, which leads to the cleansing of outdated patterns, the clarification of desires and the formation of the intention-direction of life. As an earthquake of the inner world that gives birth to a new view, a new vision of the outer world and own individual role in it, preparing for a new path, a new cycle, and pointing to the natural rhythm of endless spiritual maturation.

The shape of the islands remain incomprehensible to me for now.

Zakynthos island awakened a range of emotions in me: from the confinement, impermeability and compression in a bag of consumerism and tourism, disconnection from the depths of the earth and the height of the sky, breathing hard due to the prevailing male principle and abuse of natural space, to the sincere contact with joyful nature in the interior of the island. In the centre of the valley in the island's middle, I sensed a spiral rising into the sky, energetically charged by four surrounding places on four sides of the island. It is strongly rising high in the sky but lacks grounding. The form of the island appeared to me as a being walking forward and looking back. And the quality of the island I recognized as knowledge to incorporate the ancestral wisdom into the present and keep it for descendants.

In the vast olive grove of a friend Dimitris Therianos(update21:film by Ida Glušič), I felt the joy and love of its cultivation. Each olive tree is connected invisibly with all others as a part of the whole, the last showing to me as the respiration system of one organism. Connecting with them, I felt the olive tree as a female tree and saw its unique feature: the olives dance! The old olive tree we last visited showed itself imbued with many times and periods. It radiated a particular mysticism, arousing awe. I experienced it as an archetype of ancestors, as a silent sage that regulates the life of an olive grove.

As a symbol of the quality of Zakynthos, a circle inside a rhombus appeared to me.

The Peloponnese peninsula has shown to me in the shape of a being with a tail that faces west, bringing in an energetic influence from the East. I felt it played the role of the centre of (primordial) life force (hara) in the Mediterranean, sending it into the wholeness through the “tail, legs and arms”. When I visualized myself in the middle of the Peloponnese, I felt strong forces from all sides, as if I were standing on a big draft, at the centre of an imbalance. It took a lot of effort to manage standing up straight. When I asked the Peloponnese about its readiness for the “new”, it was confused, perhaps even frightened, as it could not relate to the meaning of my question. Then Demeter appeared. She ritually outlined a circle around herself on the ground with the stick and hit hard in its middle. A strong spring rose from it and began to rain on the Peloponnese. Is this rain a message about the growth potential of something new?

Pylos lies on the outside of the left foot of the Peloponnese (1st toe of the Peloponnese). I experienced it in his comfortable, peaceful life, backed by prosperity present on all levels: an abundance of food, a year-round friendly climate, the absence of industry. In addition, the security of living is based on following the tradition and its successes, meaning that the question of the possibility of something new and different is unknown and never asked.

As a symbol of the quality of Pylos, the letter V appeared to me - the door of Gaia gifts into space.

In the village of Koroni, the feeling and view of the place and the port speaks to me of chaos, disorder, inaccessibility, loss of identity. I feel her ignorance of current changes in space and potentially new ways of living even more strongly than in Pylos.

As a symbol of the quality of the village, a spiral from earth to sky appeared to me.

I feel the primary energy potential of the left foot of the Peloponnese (1st toe of the Peloponnese) in the opening from the earth to the sky. Here, Gaia messages and qualities are brought into the light. However, this flow is being obstructed by poor grounding. Space is not present in the actual moment but stays in its closed world, with the heavy energies of struggle, fear and lack of freedom from the past. The space sleeps.


I feel the cape of the tail of the Peloponnese (2nd toe of the Peloponnese) as an energy pillar that expands horizontally into the environment and thus connects, collects and balances the qualities of two neighbouring capes of the Peloponnese (left and right feet of the Peloponnese). The presence of the element of air is strong, and here, for the first time since my arrival in Greece, I feel the imposing, breathtaking power of the rocks - compared to the left leg of the Peloponnese, I feel here in its tail much more primal strength.

This space is a space of a dragon of air. Along with this quality which is an aspect of the primordial strengths of Gaia, this space also breathes with the cosmos, with spiritual guidance and the influx of new possibilities of incarnations.

In the village of Porto Kagyo (on the right side of the tail of the Peloponnese - 2nd finger of the Peloponnese, we find the chapel of St. Nicholas. I read his gesture of the crossed upward index and middle fingers, and under the latter connected to the thumb and fourth finger, depicted on all the icons, as the wisdom of the embodiment of one's spiritual potential. Balancing one's fire and water quality brings the realization of spiritual potential (connection of thumb and earth quality).

As a symbol of Porto Kagyo quality, I saw a thread that descends from heaven to earth, here fertilizes with the message of incarnation, and returns to the cosmos in an arc, gifting the cosmos with new information (a new record in Akasha).

The next stop on the Peloponnese was Gytheio (deeper in the bay between Peloponnese's tail and the right foot - between its 2nd and 3rd toes, on the right side). As I connected with the city, a white goddess spinning in a circle appeared to me in the hill above it. It is not in full potential, but it does not sleep completely (like most of the Peloponnese we sailed by then).

As a symbol of Gytheio quality, I saw a spiral extending horizontally into space.

Near Gytheio is the village of Skala. In its nearness, we visited the Southern Lights, an agro-farming project. I felt their collaboration with plants as an attitude of respect for the earth. I felt the plants in their freedom, joy, contentment. They form a golden ray net that opens into space and sends out new information. The place is grounded, with Gaia and Pan participating.

I felt the impulse from the cosmos in the space of the Southern Lights project is weaker. It might be due to poor free-flowing energy, perhaps because the community rules restrict the freedom of life choices of the participants. I strongly feel the potential for developing new ways of working with plants - plants with plants and people with plants. However, its realization requires the development of individual responsible freedom that supports, preserves and enriches the well-being of the whole - in the relationship between the community people. Only as free and horizontally distributed does the energy for embodying the new have free flow at all levels.

At the entrance to the Southern Lights project grows an old eucalyptus tree. As a key, I received a purse with gold coins there, representing the potential of the project to enrich the world with knowledge about the coexistence of man and nature, to bring new and upgrade old knowledge into a different, for this time relevant whole. The realization of this depends on the freedom of creativity, on one side for nature, on the other side for community members who, by making their own decisions, cocreate with their unique contribution.

The Southern Lights project embodies the primary potential of the Peloponnese region: agro-agriculture as an intuitive exploration into the ways of encouraging forest creation by planting and combining plants grows out of respect for nature and connection with spiritual guidance embodied in new ideas of connecting and collaborating with nature. Thus, it is possible to create a new whole (white goddess) for further co-creation.

Also, we visited the land of the emerging farm of Panos and Kali, active members of the Southern Lights project. At the site of the emerging plantation, I saw a tree of life growing, and at the site of a future living-house, I felt a strong presence of the element of water.

I felt the connection of both lands with the energy threads.

Kayres village lies in the interior of the Peloponnese, at the foot of Mount Parnon at an altitude of 950m. From the Karyes name was born the name Kayratide (translation: young girls from Karyes), which originally meant local priestess dancers who every year danced a local ritual dance in honour of Artemide Karyatide. Later, this name came into use for all female sculpture supporting pillars (the most notable is Erectus on the Acropolis).

I felt Kayres as a yin area with feminine quality. We visited 2500-year-old plane trees, strong earthly giants and at the same time ethereal ones, as if invisibly touching the sky. In addition to the wisdom they carry, Ent also conveyed me their grief over neglect and forgetfulness from the people. The reason for this cessation of the coexistence of man and nature, the plane trees whispered to me, is the predominance of reason and its non-recognition of nature as a conscious being.

In front of the plane trees is the spring where the temple of Artemis once stood. I felt space as a strong golden pillar of energy connecting earth and sky.

Our way back to Gytheio high Taygetos mountains followed us all the way, with the highest peak Prophet Elijah (2405m). When I connected with him, I felt him kissing the sky.

Energetically, I experienced the right foot of the Peloponnese (3rd toe of the Peloponnese) as connected to the cosmos and the element of air. On its cape, there is the village of Profitis Illias. I experienced it as a peaceful and pure village, in harmony and silence. This silence was too quiet, communicating not of living in peace, but of sleep and isolation, of living in its rhythm and time, far removed from world reality. Here, again, I met a space that sleeps and knows nothing about the “new”.

Behind the village, there is a dragon-shaped mountain, rising boldly to the sky with its buttocks in the sea.

As a symbol of the quality of Profitis Illias, I saw a spiral descending from heaven to earth.

During our sailing to Crete, I first connected with the Peloponnese: the being of the Peloponnese thanked us and greeted us with an invitation to return. Demeter of the Peloponnese blessed us and sent us golden wheat. I then connected with Crete and felt the presence of Minoan culture and the culture of the (Neolithic) goddess.

We moored in Kissamos (former Castelli), a town in the westernmost bay of Crete. The request for a key dropped a golden anchor in my hands. When I connected with the island, it opened to me in quality that felt like some other time and origin and at the same time being in the present moment. Like a particular knowledge of the connection between the past and the present, where growth potential is coming from the old wisdom, upgraded for the present time. I felt Crete as an individual holon, grounded and unconditional. As a space of connecting hara chakra with heart chakra: a place where courageous insights, recognitions, getting to know oneself and decisions how to place oneself always include ancestors and tradition. I felt a space behind me - a connection to the causal worlds.

Connecting with the Crete being, a vague image of two feminine figures first appeared to be - a warrior and a Neolithic goddess -, as if the being was too weak to show herself clearly in her essence.

As a symbol of Crete, I saw golden threads in the shape of a pyramid-facing-up and a pyramid-facing-down. The threads ran only vertically. I got the impulse they also needed to run horizontally to connect Crete with the rest of Greece. By combing the threads horizontally and breathing back into causal spaces, bees appeared and began to fly around Crete. I asked Demeter of the Peloponnese to send the grain. Golden grain and bees met and connected on the way between the Peloponnese and Crete. Simultaneously, a Peloponnesian balance-organ woke up, moving around its axis and thus balancing the space of the Mediterranean. As if the connection of grain and bees - the Peloponnese and Crete - gave the balance-organ a power for restarting its life cycle. In this way, Crete presented to me like a womb of the Mediterranean.

After the exercises, the symbol of Crete also changed: from the point of meeting the golden threads of the lower and upper pyramid, a horizontal spiral of golden energy began to twist into space. There was also a change in the vision of the being of Crete: clearly, I saw a woman in a long golden dress with bull horns on her head, turning clockwise and sowing seeds all around her from the highest Cretan peak Psiloritis (2456m, Oros Idi mountain area).

Here in Crete, I felt an openness to the new for the first time in Greece.

Dear friend Zlatka, who hosted us for a few days, opened some exceptional natural spaces for us.           story about Zlatka 

Mouri is a village closest to a natural place called Island (Nisi) - its name comes from the fact that it is impossible to get anywhere from it, as there is a mountain on one side and a canyon on the other. I felt Island as a space unrelated to the notion of time we know; he lives in timelessness/omnipresence.

At the entrance to the place, there are ruins of a church, full of frescoes inside. From one of its remaining walls now grows an old carob tree. I felt the place as a place of Sofia/Christ presence, more precisely, as a place of meeting Sofia/Christ in oneself - with the potential of love, forgiveness and compassion for oneself. 

Near the village of Syrikari (Sirikari) is a forest of old chestnut trees. The energetic key for entering the place was a burgundy bag with stone arrows. I experienced the space as a place of healing, health and inner peace. The chestnut tree presented herself to me as a female and cosmic tree that brings cosmic energy into space in the form of silver rain.

From Zlatka place, we continued towards the east of Crete, towards the secrets of the carob.

In the central part of Crete, we visited places and people associated with reviving the importance of the carob tree. First, we met a 1000-years-old carob tree in the Rethymno region. As I stood in her circle, she immediately accepted me into a circle of friends, thus showing her as a tree that makes friends quickly and easily. I also felt carob as a woman’s tree. When I connected with her, I saw that she feeds on the direct sun energy she stores in the fruit: the carob is a golden tree. (WGO story :Coming Back to the Carob Trees)

Every new experience of Crete was slowly disclosing it to me as a place connected to roots and ancestors and at the same time connected to the cosmos. Translated to the human body, this speaks of the connection between hara (life force) and the heart (spiritual perception). This connection awakens the potential of passionate creation and living one’s truth, not forgetting the wisdom and knowledge of the past.

At one point, connecting with a being of Crete ignited a spark in my heart. At the same time, however, I felt pressure from above that prevented the spark from glowing into the embodiment. I intuitively connected it with the (rational) existential fear, which many people solve today by ceasing traditional (self-sufficient) ways of care, focusing on owning material things, consumerism and finding a comfortable life. This possession-based life approach has revealed to me as restricting the free life flow, and as a way that closes the heart to free intuitive experiences.

Above village Melidoxori (Melidochori) in a Heraklion region lives Kostas, a master grafter of carob trees. The space of his farm and the surrounding landscape is like a vessel in which the sun is bathing. Here, heaven and earth kiss and procreate. It is a powerful yin space of abundance and prosperity that gives, gives, gives. This landscape is the womb in a different sense than the place of Komolithi in western Crete: it is the granary of Crete, where Gaia openly gives herself to all beings and thus ensures their lives.

Here again, I experienced the carob as a tree with sun fruits, as food fertilizing life with the life energy of the sun, awakening the life force. Carob is like a mother: independent, self-sufficient, with the knowledge and strength to survive without additional watering, caring for others and making immediate friendships. Carob thrives in different soil types, protects the soil from erosion, can survive on winter amount of rain and protects the space from fire.

In addition to carob trees, Kostas’ farm also includes old black oak trees that grow around the estate. They complement each other energetically: carob as yin and black oak as yang. I saw the black oaks sending energy threads to the carob trees, thus connecting and grounding them into the holon of the space.

On Kostas’ holon, there is also a big rock with dragon quality. Eagles, sunbirds, nest there. This quality of eagle also lives in Kostas. Likewise, the sun of Gaia is vibrating in the joyful, passionate, sincere, unobstructed way of Kosts’ communication, speech, attitude and response to the trees and garden, and not to forget, even in his deep need for abundant hospitality and gifts to visitors. He is embodying this unconditional giving quality that is born in this landscape.

We crossed part of eastern Crete, the Lasithi region and part of central Crete, the Heraklion region, went past Agios Nikolaos, then along the local road from Elounda to Naples and finally towards the village of Tris Ekklisies (Three Churches) in the southern part of Crete. Landscapes opened up to me in the power of the elemental world and Sidhe.

Not far from the village Tris Ekklisies we visited an old carob forest, unique in the Mediterranean. In this dry and rocky landscape, I felt that the carob loves solitude, does not long for visitors. Even without the latter, it is present, complete and self-sufficient. Here I strongly felt Sidhe living next to people in their invisible reality of a parallel world. Hidden, they are waiting for the awakening of people, for their realization of nature as a conscious being ready to participate in co-creation.

On the way back from Crete to the Peloponnese, we stayed overnight on the island between them, Kythira. I felt it as an island of hospitality, tolerance, peace and lightness between the two powerful spaces of the Peloponnese and Crete. A being of the island appeared to me like a woman spinning with open arms, happy, content, smiling, reconciled to herself and all that is; integrating and caring for every being that comes along.

As a symbol of the quality of Kythira, sea waves appeared to me.

The main lesson of this travel through Greece I may condense in the sentence: "Instead, as an animal, let give ourselves a possibility to live as a plant." It comes from olive, chestnut and carob. I felt plants connect into one organism. They cooperate and support each other without fear of being left without free space and opportunities for life. They do not build cohesion on equality and through supporting the same paths, forms, characteristics, but on complementing, enriching and changing the whole by supporting differences. Fluidity and the freedom of growing each being/seed into its unique plant are encouraged. In this way is each time created a new unique whole. The interconnectedness and cooperation in nature become visible to the human heart because the heart connection recognizes the plant not as a dead thing for human management, but as a conscious being, open for cooperation and co-creation. The world of plants is teaching me that space truly lives in its potential only if its beings are interconnected and at the same time independent, sincerely supporting the well-being of the whole. For only as a part, they exist and are themselves able to grow.

The coexistence of natural space with people and people with people, seen and felt on this Greek trip, was often opposite of the latter. I felt the absence of integration replaced by fencing and isolating identities without being aware of the need for connection and cooperation. Above all, bare rational conception and action have once again proved to be the general activator of human oblivion of the natural (organic) way of coexistence lived by the plant world. View on monocultural cultivation of olives, planted geometrically in flat rows in an otherwise varied Cretan landscape, felt strongly unnatural. Trees of almond, carob, citrus fruit and other variety that once had their place among olive ones, have long been cut down. An experience of seeing monoculture olive groves, in reality, showed me the consequences of human recourse to primary rationality. The accumulation of individual property and the restriction of the free flow of energies at all levels causes instead of trust only reign of fear, instead of a varied and unmanageable horizon just a pure and monotonous vertical visibility.

Visited Greek islands mostly live and function as closed worlds. At the beginning of our journey, the inner seeing of the sea space of the Mediterranean, where we intended to sail, was revealed to me as connected with golden threads, which - as I can conclude now - remain hidden and unlived. Isolated - both spaces and people - thus lose the possibility of connecting into mutually supporting waves of a unique rhythm of exchanging experiences and creating something synergistically larger. And, does not the current state of the world encourage us to make such changes? 

This non-recognition of the whole, which is created by connecting different approaches, ideas and professions, I experience as an obstacle for opening new individual paths of understanding and working into the highest good of the whole, which means the highest best of each of its parts in its uniqueness.

The path I see is a balance of heart and mind in their authentic qualities and roles, offering humans a friendship and cooperation with nature, with Mother Gaia. I experience Gaia as already transforming and inviting people to recognize her by deviating from the old understanding of the world. Should we join her with confidence on the way to the new, despite not knowing what and how it will be? Human ignorance has no power to stop Gaia's changes, but it prevents them from seeing them and establishing an inner relationship with them.

And how did everything I experienced affect me? Due to the felt drowsiness, disbalance and absence of the space itself, I, a lover of Greece, was impressed by the sadness and awareness of the powerful changes that should take place. Powerful breakthroughs of the living presence of the space itself were too rare this time. As if human ignorance of the current state and unwillingness to make internal decisions about individual path have left a deep fog on the natural space and hidden from us its rebirth, its breathtaking beauty and strength. However, I also understand this “absence” of natural space feeling within me as an invitation and an incentive for change. These feelings of inconsistency did not silence my desire to explore even more deeply the spaces touched this time in their hiddenness. They also triggered my innerness for dissection and insight of everything that still needs to go into the process of transformation, forgiveness, and change, learning to be a student of the plant world.

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Released by MED Land project, June 2021 /story by Ivana Petan , photo/editing: BB;  

THE MED Land team, May–September 2019

THE TEAM; Eleonora Pauli, Laura Mangunda, Ivana Petan, and Ayane Tanaka


>>> Eleonora Pauli studied literature and languages in Berlin and Cambridge. She loves to listen, and encountered many new and inspiring sounds while travelling with Bojan on Nalu.  Eleonora works as a journalist in Berlin, Germany. She writes and produces short radio plays for Deutschlandradio, collects sounds for her next satirical commentary, or just walks the city streets with her microphone in her hand and her ears wide open.


She came to Greece and stayed with the project for the first two months! For me, it was a very bright experience from day one, a very creative, supportive and positive living and working time. She came with small audio and photo-film equipment, as an enthusiast for sound recording and with professional audio journalistic skills. It was very exciting, since I love the sound, too! And it was a perfect match to record (video and sound) “what was going on” during this two months:

Eleonora also did her part in the exhibition “BARKE” (Boats), which already took place in September at the Museum of Stari Grad, Hvar island. It was about the third element of the exhibition, image & soundtrack TRACES OF MEDLAND PROJECT 2019/1 a project on which the creation of this entire exhibition is built on. The soundscape was created by Eleonora!

laura-mangunda-med-land-projectLaura Mangunda, a law student from Slovakia was formally “the opposite world” from Ayane who was from Tokyo. But in reality, we had all common pools and very informal, easy-going, “MED land” active and challenging life. She was always ready to help and do things I wouldn’t even think of, from research to every task on the boat, transcribing, etc., and was always open to learning. “So young, so good “, could be the title of the song I would write about her!

bits from her fear-well letter;

Dear Bojandzi,

Thank you for this whole experience.

It has meant a lot to me. It has brought me to experiences and realizations that I didn’t expect at all … >>> MORE

ivana-petan-medland-team-may-september-2019Ivana Petan has been IN from the very beginning –from day one, when we sailed Nalu from Bari to Slovenia to restore the boat, back in 2010!

SINCE THEN, she has been continuously collaborating in every possible way, from doing repairs on Nalu, transcribing, supporting the financially and her unique ceramics, sailing on destinations. We also had 3 exhibitions together, related to the MEDLand project:

Dance with Mary – exhibition/installation

Water Dragon of Venice – Exhibition in Zadar

Exhibition “Barke” (Boats) by Ivana Petan – ceramics and BojanB – prints






Ayane Tanaka from Tokyo has been engaged in international business with the focus on marketing and corporate strategy. She had worked for a fashion agency in Paris as a marketing assistant, and got involved with MEDland project as a PR and strategic marketer, as well as a sailing crew member. She is interested in culture, gastronomy and sustainability, which she cultivated by travelling around the world and through various art and sports activities. She joined us on Ikaria and we finished our common trip in the Adriatic – on Hvar island, which took us 13 days. “The sailing journey in the Mediterranean for 13 days was sometimes extremely tough and very much lovely at other times, which gave me an intensive experience of understanding Mother Nature.



AND bojan >>making-a-story-bojan-brecelj-explanations


Posted by bojanb
4 years ago

Dance with Mary – exhibition/instalation

>22. 7. 2017<

There is a dance going on! After the opening on 22 of July 2017, the Adriatic-Mediterranean space – between Venice and the Ionian Islands, the world that used to be in my conscious very much apart, started to resonate as more connected and related space… 

Gallery Stratiko /court of Dominican MonasteryIt is about the exhibition of photos and ceramics in Gallery Stratiko in Dominican Monastery, in town Paise or Faros or officially Stari Grad on Hvar Island with all its recordings of creative movement in space and time embodied in photos and ceramic pieces. It manifests a space, resonating between Venice and Ionian Island as connected space, passing the information through movements of water, air and subtle realms of new spaces/elements that can be touched… embodied in ceramic pieces.

Prints from Venice are part of a project and exhibition “Water Dragon of Venice” There are three elements in this exhibition. They are reflecting the tuning into the qualities of this part of the world, (in)dependent from the past, as here and now. More precise, installation/exhibition is actually reflecting the worlds of Bojan and Ivana, their dialogue with Adriatic Mediterranean space, as well as the resonance between themselves. There were actually two openings going on, the morning one for the morning people, and the evening one with the concert and special wine from Matko Zagalo /his story is published by MED Land Project /the concert was held by Jelena and Tomislav. /Jelena story is published by MED Land Project / The name of this exhibition/installation is Dance with Mary.Mary stands for the goddess of life that has three aspects, or three parts in her life cycle: white /as the innocent and bursting one/, red /as the ripe and creative period/, and black /as death and transformation/.In this installation, the third aspect of black Mary is prevailing. There is lot of movement present in the images as well as in the ceramic pieces. It is a record of a dance with the Water Dragons in Venice Lagoon, then, on the other side, with Olive Trees on Greek Ionian Islands, and with the elements in the vast space in-between, recorded in ceramic objects.Energy, created at the exhibition/installation, which emerges especially through visitors’ conscious observing of the “dance” in the images, in the pots. There is opening an awareness of the Adriatic Mediterranean space, that its distant points are every moment related. PS: dance evokes in me the connectedness in the space and time, let’s dance 🙂 

Olive tree from the Ionian Island, MED Land project, 2017, 55 x 40 cm -digital print on fine art photo paper:  (70 eur) / photo – special price for the exhibition period and those who are contributing, supporting and  following MED Land project. GALLERY 

Unique ceramic object are available at : ivanpetan.comPhotos are done in the lagoon of Venice and are part of the series Water Dragon of Venice project – limited edition 5, Digital print, lace mounting on acrylic glass, is available in three formats /101x67cm, 62x45cm, 45 x30 cm / at GALERIJA FOTOGRAFIJA in  Ljubljana, Slovenia: …and probably you do not know that in Dominican Monastery in Stari Grad lives one priest that also paints and writes, Fra Mario started a new chapter in the monastery, gallery and accommodation for quests like literates and people that are seeking contemplative environment. Monastery keeps also rear book examples in the renovated library.

More about the exhibition :

In the same distance from the northern and southern borders of the Adriatic, in the navel of Adriatic Mediterranean interweaving, there is Faros. Revived by Greeks and much later ruled by Venetians for 500 years, Faros is the navel of the Adriatic Mediterranean civilization.

From there, sailing across the Mediterranean, in the straight line towards the north, you land in the Venetian Lagoon, and sailing towards the south, in the same distance, you land on the first Ionian island Othonoi, where in the Kalypso Cave Odysseus lived with 50 nymphs for 20 years.MED Land project – photo project dealing with the Mediterranean identity – was born in Venice and acquired its first real shape in the land of Faros, which is at least 800 years older than Venice. The project is in progress, currently moving around the Ionian Islands.The exhibition weaves its way through three contents. Venice Lagoon, as the pre-source creative space, through water and primal forces (dragons), constantly stays connected with the rest of the Mediterranean, with all seas, waters…; with the Ionian Islands, that are deeply rooted in the constantly moving geological crack, going down 4000 meters under sea level. The Ionian Islands are full of olive trees! Since centuries, millennia, some of them from the time when the Greeks landed in the Faros bay. They dance their dance, woven from the stream of life, from the lightest breath to gigantic dimensions of Earth that move among the stars. They dance their creative dance through which the Earth’s cyclical and primordial wisdom is expressed in the flow of constant changes. Olive trees are the power and wisdom of this space. People of Ionian Islands are strongly connected with them; olive trees are that part of the family that never dies. The third or the first content of the exhibition I perceive as the miracle, created by ceramist Ivana Petan, here in Stari Grad for the second time. Her ceramic artworks are connecting me with a new place, a new element in which life develops; life waters connect and transfuses in a different way than “usual”. My perception of it is as something between the element of the earth and the element of the air. The easiest way for me to experience it is in the middle of the sea. Space there is freer and more contemplative.The exhibited sculptures of Ivana Petan I perceive as central and all encompassing, embracing the space between the Ionian Islands and the Venetian Lagoon, and at the same time, they speak of something that is present throughout the planet.Bojan BreceljBy hand, I’m building a certain and definite shape, a new space, in my mind still completely uncertain and undefined. My way of creating is often like this. I do not know where this shape will take me this time, it hovers in the conscious, not in my head, but in my hands that follow the intuition. Focused, I let myself be lead by the unknown. It is a relationship without words, a tactile relationship. Walking home, filled with a questioning feeling regarding my emerging work. Does harmony really live only in strict symmetry? Curious and confident, day by day, despite still rationally unknown and being born only in the moments of creation, I continue this path, mostly choosing recycled stoneware, which makes the color of the finished work a surprise, measuring the length of the work that fits my kiln’s width, coiling one piece of the stoneware on the other, shaping for hours and hours. Almost at the end of the work, the assured feeling of “this is it” is missing. I still question myself should I still reshape a bit up, down…or leave it like this? The mind hardly stays quiet. I aim to touch the right finish, perhaps I cannot reach it? And then, suddenly, there comes a decision “the end!”, which could have easily in some other moment be just one more pause in reshaping? Ivana Petan


People from all over the world visited the exhibition…The good reason is that in the same place -Dominican monastery in Stari Grad has also a Museum which is a popular stop for visitors to Hvar island.

At the very opening, actually, two openings in the same day Vinko Srhoj– professor at University of Zadar (Art of the 20th and 21st Centuries, Theory of Art, The Art of New Media, Art in the mirror of quotation – the mirror structure) was present. Vinko is also known for his critical texts about art, that were regularly published in scientific and popular publications. He wrote also his review about this exhibition! I like it very much and I wish to share it with you. If you do not read Croatian use google translate?

Vinko Srhoj at the opening.


Med Land projekt slovenskog umjetnika Bojana Brecelja kojemu se na fotografskoj izložbi u Dominikanskom samostanu sv. Petra Mučenika u Starom Gradu radovima u keramici pridružila njegova suputnica Ivana Petan, mogao bi se nazvati hodočasničkom plovidbom. Baš kao što se nekada prema Svetoj zemlji polazilo iz Venecije oplovljavajući Jadran i pristajući na njegovim razvedenim obalama, tako je i Bojan započeo svoje putovanje tragom Mediterana „kakav je nekada bio“, kao što kaže popularni slogan. Venecija kao početak i motivacijsko izvorište gdje je sa slovenskim umjetnikom Markom Pogačnikom svojedobno fotografirao njezine otvoreno-skrivene detalje u kojima je njegov suputnik pronalazio energijske kriptograme onoga što se ne vidi na prvi „turistički pogled“, dobila je svoj nastavak u jednom još drevnijem  gradu, grčkoj koloniji Farosu (Starome Gradu). Projekt završava  na Jonskim otocima, dodirujući mitska mjesta poput Odisejeva i Kalipsinog otoka Othonoia, a ono što ih povezuje nije toliko drevni mit koliko drevnost jedne autohtone kulture – maslin.

Maslina je svojim tisućljetnim životom (znamo da su neke masline tu od biblijskih vremena. Uostalom, nije li i Krist na Maslinskoj gori uzašao u nebo, baš kao što židovska eshatologija iščekuje da će prvi uskrsnuti oni koji su pokopani na njoj), od stabla s otoka Briuna kojega je starost oko 1600 godina, do kaštelanskih „starica“ i onih u Lunu na otoku Pagu, do grčkih otoka, postala suvremenicom mediteranskih kultura. Jednako kao i na istočnoj obali Jadrana koja danas pripada slovensko-hrvatsko-albanskoj morskoj transverzali, tako su i na jonskim otocima „ljudi s maslinama snažno povezani, one su onaj dio porodice koji nikada ne umire“ (B. Brecelj). Maslina na Bojanovim fotografijama antejski izvire iz zemlje i one najoskudnije, a tvrdoća njezina debla, kora koja je poput oklopa, tekstura koja podsjeća na kamen, rodnost koja se mjeri tisućljećem, ovo stablo čini pratiocem čovjeka, bićem s kojim su se generacije familijarizirale i kojemu je jedinom podarena vječnost. Bojanove fotografije nisu napravljene s namjerom da se divimo fotogeničnosti drevnog stabla za turističkog „safarija“ jadransko-jonskim otočjem. One su simboli iskonskog, onoga što ne opstoji u krajoliku i kulturi kao nešto privremeno, nego je dio njegova trajnog izgleda, nečeg poput pradavne forme bez koje je taj krajolik nezamisliv, odnosno neopisiv. Interakcija s čovjekom koji se ovdje ne pojavljuje, podrazumijevana je i dio je opće memorije odnosa i međuzavisnosti bića koja nastanjuju isti prostor. Zato je maslina arhe-stablo, povijest i samoga čovjeka, od čijeg je stabla, kao simbola vjernosti, izrađena Penelopina i Odisjeva bračna ložnica, dok je ulje ploda masline Homer uspoređivao s tekućim zlatom. Keramički radovi Ivane Petan imaju također nešto od arhetipskog u formi koja kao da stoji na počecima oblikovanja, prije negoli je nešto postalo posudom, vazom, uporabnim predmetom općenito. Uostalom, u njezinim valovitim „posudolikim“ oblicima ne možete staviti ni hranu ni tekučinu, jer nemaju dna. To su oblici potencijalne uporabljivosti, prototipovi posuda, ili kako sama autorica kaže, „na samom kraju izostane siguran zaključak ‘to je to’ (…) Napipavam pravi kraj, možda ga ne mogu dosegnuti? I odjednom padne odluka ‘kraj!’, koja bi u nekom drugom trenutku lako mogla biti tek još jedna stanka u obrađivanju“ (I.Petan). No i bez obzira na „nedovršenost“, ili sumnju u dovršenje, Ivanini su oblici jezgrovito svedeni, ne treba im daljnja evolucija, jer su dosegli jednaku organičku praizvornost kao i ona maslina koja nastanjuje mediteranski krajolik kao da je oduvijek tu, u jednostavnoj funkcionalnosti vječnog oblika.

                                                                       Vinko Srhoj

Vinko Srhoj text was a reference and quoted in Slobodna Dalmacija newspaper in an article about the exhibition. Read press release.

“The Last Days” & the first steps for a long-term art group project on the island of Ikaria

... Every day is the last day ...

These were the last days when the Coronavirus was still “safe in China”. Ivana Petan, Gregor Erjavec and Bojan left by ferry from Venice over the Adriatic to Greece, to do the first steps for a long-term art group project on the island of Ikaria in the Aegean sea.

the last days-Venice-medalndproject-
the last days-Venice-medalndproject

How to move, to touch, to live in times when moving and touching ...

Gregor Erjavec
the last days-Venice-medalndproject-medland-project-
the last days-Venice-medalndproject-medland-project-

Why Ikaria at all? It was a matter of following instinct. We were doing a research (2018) on MED Land destinations when we came across Dr. Christodoulos Xenakis, a true master of love and compassion in action in his Ikarian way at his age of 80+! Now we are friends and doing things together ... Christodoulos and Ulysses traveling together ...

Ever since, Ikaria is like a lighthouse for me in relation to other islands, deeply connected to the creative pulses of Gaia, with the traces of 15,000 years of continuous presence of humans here. The awareness of this connectedness, as far as I can sense, is still present, and the pulse goes beyond the Mediterranean Sea to Middle East, Africa and Europe.

Our MED Land mission this time was related to the project of Marko Pogačnik and the team of geomancers and artists who were planning to do the stone land art installations project on the island in order to reinforce the connectedness and spread the message over the Mediterranean. Our task was to continue preparation work on determining the location(s) for the installation, connecting to some key places that are expressing the vitality of Ikaria, finding the right stones,  all in collaboration with the Ikarian team, artist Vangelis Rinas and Christodoulos Xenakis, the founder of the Association of Ikarian Studies. Ivana Petan, who collaborated in previous geomatic-art projects with Marko Pogačnik, was leading our field preparation tasks on the research of the geomantic aspects of the island, determining the location(s) for the installation and finding local stones that are also suitable for carving. Since Marko and the team could not come, we were doing some research while being telepathically connected, and it worked very well!


Ivanas notes about Drakano and the rock - in connection with the being of the rock, I feel the rock rising up into the sky, and in the red pillar connecting the earth and the cosmos. my back space opens, allowing me to enter the causal dimensions of archetypes and ancestors, giving me the “wings” by allowing the freedom to breathe with awareness of myself. in the vision the head of the serpent - the dragon appears to me, which tells me that this is the place of spiritual power - of wisdom that originates and grows from the heart. I look towards Samos and Turkey. I feel them close, very close; this announces me their energetical connection and co-dwelling with a rock and the space of Drakano.

Icarus has his spot on the south side side of the island, where legend can be understood also in the relation with island. The legend goes that Icarus did not obey his father and followed his call to fly, to explore new dimensions of life. Where and how he ended up is not the point of this legend. 

Marko, Ivana, Gregor an myself felt the importance of understanding Icarus as an archetype that maintains the meaning to this day,

Released by MED Land project WGO / photography
Editing: BB
Text editing / proofreading: Tadej Turnšek

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Posted by bojanb
3 years ago