Offertory in wood and plexiglass
140 x 60 x 33
I long worked on an old Christian offertory, refurbishing the electronic inner part, replacing old candles with other new candles in plexiglass specifically created for this work. I researched the esoterism expressed by Satie with his own singular and univocal faith. The candles, positioned in an ascending way, rise up to the double cross, symbol of l’Eglise Métropolitaine d'Art de Jésus Conducteur. What I created is an obvious act of faith towards the Master
At the beginning of 1890, the Grand Master of the Order of the Rose-Croix, Sir Péladan, listened to Satie in one of his performance at the cabaret “chat noir.” He proposed that Satie accept membership of the Order as the Grand Master of Chapel.
Satie decided to accept this role, because he already studied esoteric doctrines and practice; he also needed money, even if this adventure did not last for long. It is well know that Sir Péladan loved Wagner’s music in contrast to Satie, who not tolerate the German composer. And for this reason the relationship between Satie and Sir Péladan rang false, not crystalline, and distinctly ironic.
He took distance from the order Rose-Croix and from Péladan by moving towards the group under Jules-Bois group, the Satanist founder of the periodical Le Coeur. This experience also lasted only for a short period of time.
The only solution for Satie was to found his own church. “If I have to be a disciple of someone, I can only be one of myself”: accordingly, he created l’Eglise Métropolitaine d'Art de Jésus Conducteur in 1893. A kind of sect but with only one member: Satie himself. There is a letter of convocation of a meeting written by Satie himself sent to his address. Born of a Protestant mother and a Catholic, Anglophone father, Satie began to take Holy Communion only when he was close to death. One morning, Stravinsky met Satie in church and in his particular way said “J’ai un peu communiqué ce matine.”