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The indigenous peoples of the American Southwest—including the Hopi, the Zuni, and their ancestors, the Anasazi—frequently applied intricate mosaics of silver, turquoise, shells, and polished semi-precious stones to musical instruments, such as flutes, whistles, and percussion instruments. The instruments were thought to grant the user the ability to communicate with the gods through music. Often bits of red were used to provide a contrast to the "sky stone" and silver, striking a balance between the heat of the earth and the cool of the heavens. I don't encase guitars in "sacred minerals" merely for decoration. It's more than that. It's an ontological transformation, raising the instrument to the level of a sacred object that has merged nature with art. As always, I use jewler-quality adhesives and the final work is finished with a durable, UV protective clear coat to keep it dazzling for years to come.
The indigenous peoples of the American Southwest—including the Hopi, the Zuni, and their ancestors, the Anasazi—frequently applied intricate mosaics of silver, turquoise, shells, and polished semi-precious stones to musical instruments, such as flutes, whistles, and percussion instruments. The instruments were thought to grant the user the ability to communicate with the gods through music. Often bits of red were used to provide a contrast to the "sky stone" and silver, striking a balance between the heat of the earth and the cool of the heavens. I don't encase guitars in "sacred minerals" merely for decoration. It's more than that. It's an ontological transformation, raising the instrument to the level of a sacred object that has merged nature with art. As always, I use jewler-quality adhesives and the final work is finished with a durable, UV protective clear coat to keep it dazzling for years to come.
