By Lori Bledsoe
The Alpine Sun

     ALPINE — Sacred Sky, Sacred Earth offered a mystic experience that fed the senses and made one feel a true part of this world. With the efforts of Peter Terezakis and Lux Boreal, a group of artistic performance dancers who moved in eurhythmic motion to the floating tones set by Steven Garcia and directed by Allyson Green, the director of dance at UCSD, the evening was pure magic.

     The connection between the openness of Wright’s Field, and the beauty of the setting sky mixed with the rising moon, gave the event a natural lighting that was enhanced by Terezakis’ work.
     The evening, Sunday April 29, opened at 7 p.m., though many started arriving well before to get prime placement for the event, and enjoy a spectacular sunset. Nina Gould welcomed all at the entrance of Wright’s Field with information about Terezakis’ work and what was to take place.
     Gould explained the three processes one would take part in while visiting three different art installations; each allowing the visitors to become part of the artistic event.
     Gould gave each visitor a large ribbon to write their own wish, dream or prayer on and said that when the time came, they were to attach the ribbon to the specified place so that everyone’s dreams, wishes and prayers would travel with the wind throughout the world.
     The first installation was a large bamboo gateway swathed with regal lengths of red and gold silk, where large resonant bells hung to invite visitors to announce themselves to the land. Then, walking on, the visitor arrived at the second art installation, which was a giant circle, with a pinwheel structure attached to the top. This is where everyone attached the prayer ribbons that blew in the gentle breeze that was beginning to blow.
     The third installation was a huge wooden water bowl. Attached to the bowl was a ladle where everyone with great intention could give back to the earth. Each of these installations were specifically designed using elements such as silk, metal, wood, water, sound, wind and movement.
     At the natural amphitheater located near the eucalyptus trees, one found dancers arriving dressed in flowing white, preparing themselves, and then disappearing into the field where lights were set up in the distance. The golden glow of the sun was setting as the evening was gearing up, and the moon was on the rise against a deepening sky. Terezakis directed all to shut out the light, with black masks, and meditate on the sounds of nature, listening to the crickets, and birds that sang their own songs. Then the drama began with the blowing of a conch shell.
     In the distance, a whirring sound began and dancers appeared on the rocks, their white garments flowing in the wind, shown starkly against the hillside. Each dancer whirled a flexible pipe above them, whistling in the wind, creating an otherworldly atmosphere.
     Then the melodies of Steven Garcia’s hand carved flute floated in the wind, while the dancers moved rhythmically through the grasses of the field. As the evening progressed, the dancers brought out natural instruments such as shells, seed baskets and wooden rattles, adding layers of sounds and movements to their display.

     Then as the darkness enveloped the field, Terezakis’ light began to blink and wink illuminating the dancers with gasps of intermittent light. The spires of light, simple long halogen bulbs, operated via battery packs at their base. The line of eight lights blinked intermittently in the darkness.
     This exhibition was a beautiful combination of Asian and Indian cultures, mixing with the earth’s own magic of nature. Back Country Land Trust and the Alpine Artist’s Association found success in bringing Peter Terezakis and his work to the people of Alpine.
     Terezakis is an artist who uses light installations to create a number of interactive works of art varying in scale from simple jewelry-sized objects, to a building designed in conjunction with Donald Trumps architect, Der Scutt. Terezakis’ works have been exhibited in the United States and abroad, including Canada, Greece, Japan, Latvia, Mexico, Portugal, and Romania.
     Gould met Terezakis last year, and decided to bring him to see Wright’s Field. Upon seeing the field, Terezakis decided that he wanted to illuminate the natural beauty of the land and bring light into the field’s darkness.
     Terezakis was a faculty member of New York City’s School of Visual Arts and is interested in the use of art and technology as an evolving means for spiritual engagement. He works in corporate, private and museum collections, and has received grants from companies such as IBM, Hewlett Packard, Sony and Phillips, who have been intrigued by his novel applications of their products.

E-mail the Editor