memory feeds the soul. breath feeds the body vitality, and in so doing, gives memory its platform. thus, memory lives through us; it is alive. indeed, it can be "buried" and denied within our consciousness, but like a surging wave, it will forever manage to break to the surface of our awareness as though our emotional depths were gasping for air. it is when it is held in a state of suspension, whereupon it exists in a state of blithe forgetfulness, held captive in an ominous limbo that makes it unaware of its own existence, it creates an aspect of being that neither cares nor cares not, and which can threaten the meaning of existence, if not existence itself. without memory to further guide and inspire, the heart would be devoid of passion; life would become meaningless. without breath, the body would disintegrate into an empty, inert vessel; life no longer would be. such is the intermingling of respiration and memory, as is the feeding of both body and soul.

at alexander and bonin gallery, there is on display a new installation of works of art by the artist paul Étienne lincoln. it is called, hyperbaric - hypobaric: the respiration of memory. his works are allegorical constructions, representing something more than what greets the eye. all are composed within a metaphorical framework that juxtaposes and melds three distinct themes -- breath, memory and evolution -- which find their culmination and resolution in his short film entitled, undine's curse.

hyperbaric and hypobaric are terms defining two distinct states of experience just before the loss of consciousness, determined by the environment in which hypoxia (deprivation of oxygen to the cells of the body) takes place. hyperbaric is a state of euphoria which occurs within our air-filled natural environment, usually transpiring at high altitudes where the air is thin with oxygen. hypobaric is an extreme state of anxiety which occurs within a water or liquid environment in which an individual is engulfed and gasping for breath. although the body is undergoing hypoxia in each instance, the type of experience is dramatically singular.

these two distinct experiences have inspired mr. lincoln to contemplate the biological evolution of respiration in respect to the environment a living organism inhabits, particularly focusing his attention on the elements of water and air, the evolution of the creatures which inhabit both, and the similarities and distinctions between the species. he then advances his idea into the spiritual realm by using the theme of biological evolution as a springboard from which he launches the age old legend of a water nymph/mermaid who desperately desires to become human.

the exhibition begins with a large print which introduces and briefly explains the themes of the artist's work. this print portrays how through the evolution of the respiration system, all living organisms are enabled to adapt and live in the environment which they inhabit. one views this evolution extending from simple water organisms, such as the bacteria, spirula spirula and sponges, to the evermore complex water species, such as fish and turtles, and finally, to birds -- the creatures of air.

portrayed above them, running parallel to the evolutionary development of the water and air species are displayed a succession of protective suits, whereby each suit displays a form of progressive technological advancement. the diving suit stands respective to the element of water, and the atmospheric suit stands respective to the element of air. the composite suit stands between the two representing the transition between water and air environments. the suits are the protective armor within two extreme environments -- deep water and high altitude -- constructed for the ultimate complex creature in the evolutionary chain: man.

it is highly recommended that one take time to first peruse and reflect on this print before advancing to view the rest of the installations. one will gain a deeper appreciation of what is informing mr. lincoln's work, and the meaning of their use in his film. proceeding from there, the viewer will see on display the sculptural works used in mr. lincoln's short film undine's curse.

throughout the exhibition, that which is constantly expressed in his work is the juxtaposition of the water and air elements, or the idea of transition, i.e. the evolution of respiration, portrayed by species (either real or imaginary) which inhabit those environments, and by mechanical installations which reflect that transitional process.

at one's right, as one enters the gallery stands an elegant diaphanous gown encrusted with mother-of-pearl shingles. it is mounted on a ship's propeller. this installation poetically introduces the viewer to the theme of mr. lincoln's entire work. the gown belongs to the fairy nymph, undine, who in mr. lincoln's short film, is a water creature who desires to transform herself from an elemental to that of a higher being: a human -- a creature of air. her gown represents the element of water from which she originated; the ship's propeller corresponds to the idea of evolution. the propeller embodies a multilayered meaning, the first of which is the idea of a ship being a water vehicle, the element which it shares with undine. secondly, the propeller is a mechanism which propels the forward motion of a ship indicative of the advancement of evolution, allegorically reflecting the quest that undine will choose to undertake, the culmination of which may or may not lead her to the transformation she seeks. lastly, the propeller resembles a fan, an implement which stirs currents of air signifying the ultimate goal of undine: her desire to metamorphose into an air creature; to become a fully evolved human being.

mr. lincoln's main installation, the focal point of the exhibition, is the aluminum hyperberic diving chamber which has successfully merged the science of technology and the world of allegory. the viewer is caught up short by the artist having literally captured within this work the breath of life: an actual living organism -- a sponge in water, housed in a small bubble tank installed in the hyperberic diving chamber -- which by its very respiration initiates a delicate chain reaction of animation. the sponge's expiration gently affects the pulsation of a pump which in turn, sends that same breath into a transparent accordion -- a wind machine signifying the element of air; referred to as a lincordion -- which becomes illuminated as the sponge's breath travels though it, as though the presence of its breath made the lincordian come to life. the expired breath continues its travel one story upward (which one can follow along a well-light stairway) where it culminates in a [stuffed] canary that sits in a "birdcage", and is provoked to whistle. the "birdcage" itself is a miniature hypobaric chamber.

as an endearing technical whimsy, one could appreciate this work at that level alone. yet, this installation speaks to a greater allegorical meaning indicated by two chains, each composed of 150 transparent links which emanate from the hyperberic diving chamber like two spiraling rays of light. every link is engraved with the names of water organisms, water species and air species in order of complexity along what the viewer realizes is an evolutionary chain.

the first chain spirals from the hyperberic diving chamber, and follows alongside the expired breath of the sponge, journeying past the miller Dunn pump and the lincordion. the chain continues its travel one story upward, from which the last link the canary in the miniature hypoberic chamber ultimately dangles. this chain represents the evolution of a water species (i.e. the hyperbaric diving chamber and the sponge) to an air species (i.e. the lincordion and the canary). the canary's high perch also corresponds to high altitude, and therefore, is analogous to the hyperbaric experience.

the second chain spirals in a counter direction, and proceeds along the floor toward a darkened room in the back of the gallery. the chain ends as a jumbled heap at the entrance of this back room under a large glass engraving of a composite diving-atmospheric suit. this chain represents the evolution of species of water (i.e. the hyperbaric diving chamber and the sponge) who emerged from unknown watery depths. these watery depths are symbolically indicative of the hypobaric experience.

behind the glass engraving, in this darkened room is shown [as a loop] mr. lincoln's film, undine's curse, -- the title acting as a double entendre. its first meaning refers to an amnesiac affliction of the brain. the second meaning relates to the novel by baron de la motte-fouqué, entitled, undine, published in 1811.

the film can be seen through the glass engraving of the composite atmospheric suit. the glass engraving hangs as a symbolic overlay: the illustration of the composite diving-atmospheric suit acting as a metaphor for the film's story: the evolution of a water nymph metamorphosing from a water creature to an air creature.

undine's curse is an extension of mr. lincoln's reflection on the evolution of respiration from water species to air species. he uses the hypobaric and hyperbaric experiences to metaphorically illustrate the distinction between the species as well as representing the threshold of experience that the nymph must cross in order to complete her evolutionary process from a water being to a being of air. the atmospheric suit is the key to existing between these two states [water and air]; it is a protector, a modern-day knight's armour. [1]. the threat to undine's well-being in mr. lincoln's tale is her vulnerability to an alien habitat (an atmospheric environment). her challenge is to develop the appropriate respiratory system which would allow her to adapt to this foreign landscape, a respiratory system which would elevate her to the top of the evolutionary chain: the human air creature. were she to become fully human, she will have developed a respiratory system which will act like the composite atmospheric suit -- as her "knight's armour" -- thereby fully protecting her from a once hostile environment, and enabling her to fully naturalize in a new habitation.

the viewer is not so much lead to this darkened room as he is lured by the dulcet soprano tones of nicole renaud, the actress and chanteuse who plays the role of undine, and whose beautiful voice wafts through the gallery rooms while viewing the exhibit. she sings an aria from claudio monteverdi, il ritorno D'ulisse in patria, while her character mourns the loss of her husband. like the nymph she plays, miss renaud's voice is enchanting and seductive, worthy of being likened to the siren voices attributed to nymphs and mermaids of traditional lore.

mr. lincoln has retranslated two themes from de la motte-fouqué's 19th century version of undine: the theme of memory, and the theme of breath and its loss. it is the act of marital infidelity in violation of undine's memory which leads to the loss of breath of the nymph's husband, and his delivery to death's hands.

beginning with the title of his film, mr. lincoln weaves the dual meaning of undine's curse as the warp and woof of his rich allegorical tapestry. in regard to the first meaning, undine's curse refers to the name given to a rare congenital disease involving the loss of memory in how to make the body respire. this affliction inhibits any autonomic control of respiration; that involuntary functioning is completely lost. as a result, the individual must learn to consciously initiate every breath during his waking hours. it is during sleep while an individual succumbs to unconscious slumber that he becomes susceptible to the loss of breath and thus, the recipient of death's "kiss". for such an individual, life becomes precarious as the body memory hangs suspended in a nefarious state of limbo, supplanted by the shadow of death which hovers on that same cord, ready to descend and steal its victim once the act of breathing - the veil between life and death - is withdrawn. this theme allows mr. lincoln to poignantly underscore the vital role that memory plays in the inhalation and exhalation of breath, and how in the biological sense, each are dependent on the other in affecting the life of the organism.

in his story, baron de la motte-fouqué's undine is a water nymph who acquires a soul by marrying a mortal man. the crux of the story culminates in the failed attempt of her husband to honor undine's memory in her absence, resulting in his death as he is about to commit adultery. it is this act of betrayal which obliges undine to regretfully play out her accursed role according to destiny's hand: the delivery of her kiss of death to the man she forgave, and forever loved. it is her kiss which prevents her husband from taking another breath, and as he expires, she is condemned to return to her watery element.

in mr. lincoln's version of undine, he continues the story where baron de la motte-fouqué leaves off. no longer does undine acquiesce to the hands of fate, and accept her damnation. instead, we follow undine's suffering, and potential redemption. subsequently, mr. lincoln's water nymph plays a more difficult role by confronting a desire which would force her to undergo a challenging transition were she to respond to the urgings of her heart.

hence, she is not condemned to return to the waters of her origin. she is given a choice. she can choose her destiny. and her choice is influenced by the stirrings of her soul. a soul with which she has been newly imbued. it is her soul, issuing forth feelings of sorrow and desire, heightening the memory of what was, while at the same time, transforming those feelings into what could be, is that which inspires her to evolve.

thus, mr. lincoln uses the role of memory as a spur to life, to change and evolution in which his undine, while mourning the loss of her husband, feels she has no other choice, now that she is alone, abandoned, and unprotected. she is compelled to follow her desire, uncertain whether she can pass the boundaries of death in order to acquire new life.

it is this turn of the story which mr. lincoln has updated and instilled with a unique personal perspective. mr. lincoln is not retelling this tale. rather, he uses its underlying meaning as a springboard to merge its symbolic attributions with that of his works of art. he expands on baron de la motte-fouqué's theme by creating a story of his own that remains faithful to the water nymph/mermaid folklore tradition while adding an original twist which stands in stark contrast to the temperament of our times. yet, in order to grasp the underlying meaning of his film, and appreciate the subtle profundity of its symbols, it is important to understand his platform - the water nymph/mermaid motif - as it relates to the psyche of western civilization throughout the ages. therefore, it is best to familiarize oneself with that folklore, and the culture from which it emerged.

undines are nymphs, also known as water feys, water fairies, fairy nymphs or water sprites. they were also referred to as ondines in french folklore, and more recently as undines, or more precisely, as an undina by paracelsus, a renowned swiss physician and alchemist, who conceived the name. he lived during the first part of the 16th century, during the peak of the italian high renaissance. as an alchemist, he devoted much of his study to nature, and to the elements which comprise her. water was one such element, and according to his belief, one of the water elementals was what he termed an undina. the word undina is derived from the latin, unda which means, wave or water.

mermaids are also water elementals, and are related to nymphs. mermaids, nymphs and undines have been used interchangeably in folklore tales. indeed, the fairy tale of "the little mermaid" by hans christian andersen was directly influenced by the story of undine written by baron de la motte-fouqué. the main difference is that mermaids have fish tails from the waist down, while nymphs/ undines have the body of a human woman, yet whose habitat is also water.

since the time of the Early medieval ages, (commonly known as the Dark ages) their stories are framed as morality tales within a christian ethos. their symbolic representation and stories flourished, and reached their apogee during the high medieval ages, most notably in french folklore. During the time of the industrial revolution (the 18th and 19th centuries) while the rise of industry and machines ruptured the agrarian-feudal customs and values of the old society, a reactionary movement erupted amongst the artists and literary authors of the aristocracy and the newly established upper bourgeoisie known as the romantics. their movement was mainly centered around nature and the preservation of the natural environment. old chivalric romances describing the knights of the medieval ages became a nostalgic touchstone, and wrapped among these stories were the nymphs and mermaids whose lovely heads rose above the waters of memory once again, and were sprinkled upon the cultural landscape in the form of popular fairy tales, paintings and sculpture.

hence, since the time of the Early medieval ages, the presence of nymphs and mermaids are synonymous with the soul and heart. they are water fairies whose persone are used to emphasize the importance of honoring one's soul and those of others by adhering to moral obligations which act as the soul's underlying pillars. moral obligations are contracts of the heart. and it is in the heart where the soul resides. there is no greater contract of the heart than marital vows.

therefore, the prevailing message of nymphs and mermaids in medieval tales is cautionary. it is by honoring the heart, one venerates the soul, and thereby, the marriage. by honoring the marriage, which is a matrimonial union on earth -- a sacred sacrament, i.e. a spiritual contract with god -- one secures for himself and his spouse a seat in heaven. in heaven, the blessed are conjoined in an ultimate union, the union with their creator-god, whereby the souls of both husband and wife have realized ultimate fulfillment, and finally exist in blissful peace.

the nymphs are water elementals who yearn to acquire a soul which can only be accomplished by marrying a human man. hence, they instigate their marriages to handsome knights who are unsuspecting of their true identity. once achieving their goal, they subsequently experience all the joys, anger and sorrows which accompanies a soul's presence. the inevitable betrayal by their husbands, and their reactions to its revelation is where the drama takes a turn, and unravels its moral consequence.

the topic common to these tales is the questionable merging of two elemental worlds -- air and water, and of two distinct beings -- mortal man and fairy nymph: the natural and the supernatural -- and whether they were indeed meant to live united as one. theirs is a mixed marriage, a handsome knight with a beautiful water sprite, conducted under a shadow of foreboding, their temporal and eternal happiness tenuously guarantied as long as an oath or promise of fidelity is upheld by her husband. if for any reason this oath or promise is breached, not only do the previously happy couple forfeit their marriage, but the nymph instigates the death of her husband either willingly or unwillingly with a kiss, and she is obligated to return to her watery element.

the inference behind these tales is that by dishonoring or violating moral obligations of the soul, the consequence of those actions could jeopardize one's happiness and joy not only on earth, but even potentially forfeit one's seat in heaven. thus, the goal for the individual is to honor the soul and the heart, thereby guarantying true joy and happiness everlastingly since the the soul will find fulfillment not only on the earth plane, but in the afterlife as well, by residing in god the father's heaven which was primordially the soul's origin and its natural final resting place.

in mr. lincoln's reinterpretation of the story, he uses allegorical references to relate undine's plight, yet her tale takes place after she has suffered her husband's betrayal and his subsequent death. however, she is not a nymph consigned to return to her original element as had been recounted in the original stories. rather, mr. lincoln's undine must undergo a rite of passage. she is still transitioning from a water creature to that of a human being - a being of air. therefore, if she is to triumph in her metamorphosis, she must confront the physical challenges in becoming an air creature: to become fully human, she must achieve the ability to inhale and exhale on her own the purity of air from infinite space. she faces a dire uncertainty that despite the yearning of her heart, it is questionable whether her elemental body can undergo and survive the physical demands of this transformation. thus, the underlying theme that is subtly alluded to in mr. lincoln's film, and is used as a veiled backdrop is the presence of the soul, and the provocation of its fruition.

mr. lincoln's art work represents the physical evolution of respiration as it relates to water species and air species. in addition, his installations and their construction is reflective of the need of a physical protective barrier if the human were to temporarily inhabit a threatening environment; were he submerged under water or cast in extremely high altitude, man's ability to breathe would be imperiled.

in his short film, as a water species, undine is the perfect representation of undergoing this potential physical evolution of respiration as well as experiencing the consequences of attempting to merge with an alien environment. however, there is no protective suit for her as she fully pits herself into an extreme condition with the intent of forcing her body to undergo this transformation. she does so knowing that either her body will successfully transform and assimilate or she will die from the oppressive effects afflicted upon her.

the latin word for breathing is spiritus. in many cultures, the word for breath is related to spirit. the correspondent meanings reveal that man has always instinctively known that spirit is embodied within breath. it is the way in which spirit animates the material, and makes it come alive.

spirit's divine consort is the soul. the soul is its mirror, its receiving aspect, the receptacle of feeling, emotion, and desire. it is where creativity and yearning gestate, the yearning to become more than what one is. the yearning to create oneself anew. spirit urges the soul to express what it feels, and seek what it desires. acting together, they are the expression of the true self. that expression is being.

mr. lincoln's installations revert to playing allegorical roles by acting as vehicles which transport the plight of undine to a higher level of meaning. thus, while she seeks a physical transformation, her journey is also spiritual. she yearns to become more than what she is. subsequently, undine also represents a spiritual evolution of being; the longing to become the being that is reflective of one's god-given soul. it is the path she travels: the path of the heart.

this is delicately inferred by the nymph's decision to pursue the seemingly impossible: to become fully human, a metamorphosis which can only be achieved by acquiring the ability to breathe on her own the air of a foreign environment. the question becomes, why? what is the necessity? the traditional primary motive behind a water nymph's desire to marry a human being was to acquire a soul; in later accounts, the secondary motive was to become mortal as well. however, in mr. lincoln's version of the story, the nymph has already achieved both objectives: she has married a human - a mortal man - and is at the outset of his story, a mortal nymph with a soul. her beloved is dead, and her heart will yearn for him until her remaining days. she will suffer the burden of separation and loneliness whether she were to decide to return to her watery element, or whether she were to decide to become human, and live as an air creature. what difference would it make in which element were she to spend the rest of her days? what is so important in becoming human? what is unique to the human, to that special creature of air who would inspire her to risk her very life to achieve a nearly impossible metamorphosis?

the tales of the nymph/mermaid/undine of traditional folklore are about defining the soul, and ushering its imperative transcendence. they allude to man's immortal nature. the soul's transcendence is man's highest state of being, and its liberation and ascendency is directly dependent on man's moral character and behavior.

the meaning of soul as it emerged from the medieval ages is in relation to the idea of nature which, by extension, lead to a redefining of woman, man and god. that meaning was represented by the evolution of the nymph/mermaid/undine persona through the centuries which continually caught the imagination of a culture, yet gradually faded away amongst the cacophony of the zeitgeist of the 20th century. stripped of her spiritual echoes, now, her persona is a mere vestige of her former self. however, mr. lincoln has imbued his undine with the romantic poignancy from which she originally emerged. her presence, as always, points to us, and ultimately, to the transcendent definition of the self.