Jonathan Evens and Alexander de Cadenet
Alexander de Cadenet is a visual artist who has been exhibiting his artworks internationally for the past twenty years. His work reveals an exploration into philosophical and spiritual questions such as the meaning of life and death, the nature of human achievement and the sacredness of art itself. He has said that “Art is way of exploring what gives life a deeper meaning and evolves in relation to my own life journey.”
In 2017, he set up the Awakened Artists platform to showcase specially invited artists whose work accesses a deeper spiritual dimension. This platform was inspired by a meeting with spiritual teacher Eckhart Tolle in 2016 and discussions about the spiritual dimension in art. Awakened Artists is an international community of artists whose artwork aims to contribute towards the evolution of consciousness.
Art historian Edward Lucie-Smith has described Alexander de Cadenet as: ‘a fascinatingly diverse, restlessly experimental artist. His work ranges across every technique one can think of. Alexander de Cadenet’s art is drawn from his own life experiences and combines a dark humour with a deeper spiritual message.’
This aspect of his work can be seen in a series of bronze and silver sculptures featuring ‘consumables’, each of which contain a deeper spiritual message. They include his ‘Life-Burger’ hamburger sculptures and ‘Creation’ – a large scale shiny bronze apple with three bites taken from it – two adult bites and baby bite in between. ‘Creation’ explores the mysterious process of creativity – of how both a human being and an artwork come into existence.
In commenting on these works, I have noted that: ‘The “Life-Burger” sculptures explore the relationship between the spiritual dimension of art and consumerism and, at their root, are an exploration of what gives life meaning. The Christian scriptures and tradition raise important questions regarding what and how much we consume. Alexander de Cadenet’s sculptures draw on the spiritual dimension in life to explore similar questions and therefore create spaces in which reflection and review can occur.’
His series of skull portraits – which begin as X-rays of his subject’s skulls that he then manipulates – began in 1994 as a way to share his authentic voice with the world in a meaningful way. These works not only honour the individuality of their subjects but also propose that identity transcends death. Through the medium of art, de Cadenet suggests that something of a subject’s essence can endure, and perhaps even evolve, beyond physical existence. This impulse – to leave a mark on the world – echoes humanity’s oldest instincts, seen in the primal cave paintings of hands, where our ancestors expressed their raw desire to affirm their presence and give meaning to their finite lives. He has explained that ‘The skull portraits tackle both the idea of mortality and also the question of how we construe human identity.’
A new work – ‘Touching the Void’ – takes viewers deeper into these themes.
JE The inspiration for this piece relates to your father. Could you tell us a little about him and your relationship with him?
AdeC I had a complicated relationship with my father. He exposed me to many experiences in life both positive and negative.
JE In what ways did your relationship with him influence your ideas for this piece?
AdeC Before my father died, I found an envelope in a cupboard he had stored some stuff in and I discovered to my amazement an old x ray of his skull and hand. It was taken after he had had a motorcycle crash with his then partner in France. I discussed the find with him and he gave me authority to use the images for any purposes I chose, once he had passed away.
Honouring his wishes, I am now using these images as part of this project. After my father died, I heard from several sources that it’s possible to connect with the soul or even impact the soul of the departed post mortem and I did have an encounter with my father in a dream after he died and this was foretold to me by a Russian shaman friend.
We are connected in a piece of art showing both our hands – expressive of our connection. There are two versions – one shown with the hands on either side and the other where the hands are shown in the vertical configuration. They represent two very different points of view but the richness and depth of what I want to say is contained within these works.
JE What ideas do you have for displaying and exhibiting this work?
AdeC My intention is to exhibit three versions of the work. One, horizontal and two, vertical. I envisage these three works being stretched across the nave of a large-scale church and being printed on oversized (ideally semi-transparent) canvas drapes that hang from the columns or ceiling so that people can still walk down the nave.
JE Why do you envisage churches as particularly appropriate locations for the work?
AdeC Churches would be very appropriate places to show this work given they are where people are laid to rest after they have passed and as there is so much history of the use of art in churches to communicate a deeper message for the benefit of humankind.
JE From where do your thoughts regarding impact on others post mortem and have these influenced other work you have produced?
AdeC For many years I’ve asked myself the question whether this mortal life is it, i.e. the one I’m currently living, is there anything more? In fact, you and I, Jonathan, also spoke about this at the time of my father’s death and you introduced me to the idea of the ‘Harrowing of Hell’, when Jesus descends to hell and brings salvation to the souls there. I think it’s a fascinating area of inquiry.
I know that art has traditionally held a sacred function to communicate and share something about someone well after they’ve passed – it’s something that comes to mind when you look at a portrait by Rembrandt, Vermeer or van Gogh for example and it’s also a theme inherent within monumental equestrian sculpture designed to honour military heroes and rulers for future generations. The idea of legacy is present within these works. It’s completely possible for the art about someone to become part of their legacy and as an artist you can contribute to their ongoing legacy through your work.
JE Where do you think this piece sits within your overall oeuvre?
AdeC I’ve very rarely made any artworks of just a hand but I did one piece about 15 years ago of my own hand called ‘Touching the Void’. This is the second time I’ve worked with just the hands and further explores how art can say something about the metaphysical dimension and what is more appropriate than sending a message to a loved one who has passed on?
These are themes I’ve been exploring for many years with my skull portraits. The skull is the longest lasting post mortem physical evidence of your existence where you can visually recognise the subject’s uniqueness and differentiation from others. It’s also symbolic of the legacy you leave after your passing. In one sense this type of art is a way to explore and contribute to an individual’s permanence / presence in the minds of future generations. They challenge the narrative that when you die, that’s it, that there’s nothing left of you in the world.
There is plenty of evidence that the skull has held deep meaning for different societies throughout human history. There is some inherent understanding that contained within the skull is something sacred and magical. I think it’s true to say that the bones of ancestors have always held great importance to different societies and none more so than the skull due to its visual uniqueness and being the container for the brain.
JE Tell us about the Thirty-Year Skull Portrait Anniversary Series which was conceived both as a celebration of three decades of skull portraits and as a tribute to your father.
AdeC The 30 Year Anniversary ‘Archetype’ series to be launched on the block chain this year (2025) is a collection of sixty carefully curated skull portrait subjects that I’ve selected from all the skull portraits I’ve done over the years. It is designed as a tribute to my father as he inspired so much of my art.
I have always been fascinated by how people wear masks to protect themselves in order to thrive or survive in the world and within the series there are multiple versions of my father. The paradox about the skull is that you can show this intrinsic, forensic image of someone’s deepest identity ‘beyond the facade’ but it still also functions as a mask in the sense that you can’t recognise who the person is by looking at it i.e. the identity can still remain a mystery.
JE Has this work fed into your thinking for future work or projects?
AdeC This work and the processing of deep grief, bewilderment and sadness that it has represented for me both before and post mortem has had a hugely positive effect on my life and work in particular in neutralizing transgenerational karmic blockages thereby allowing me to connect to myself in deeper more authentic way.
Photographic prints by Alexander de Cadenet, 2024.
.