Myth is neither true nor false, but rather behind truth -- as that body of material through which a culture's values, purpose and direction come to expression. Myth is not just "any old story," it is the story, which gives shape and focus to Spirit, and makes everything make sense.
Myth, in short is the "eyeglasses" through which a given people perceive and interpret their world. It is the vantage point from which, or by which the true is judged to be true.
But myth does more. On a deeper level, myth communicates the moving quality of the human Spirit as it seeks to become whatever it was supposed to be. In the words of Earnst Cassirer,
...Myth harbors a certain conceptual content: it is the conceptual language in which alone the world of becoming can be expressed. What never is, but always becomes, what does not, like the structures of logical and mathematical knowledge, remain identically determinate, but from moment to moment manifests itself as something different, can be given only a mythical representation.
It is common practice to speak of myth and ritual as if they were two separate things, but that is not so, for ritual is simply putting the words of myth into form, motion and music. Myth and ritual are two sides of the same thing, which we call Mythos.
Growing up on a dairy farm in rural Ontario, Nicholas Crombach was obsessed with capturing small critters and building cages and enclosures. The amusement these activities provided him was always accompanied by a sense of shame.
Crombach's artwork operates as an investigation into the paradoxical relationship humans have with the “natural world”, particularly the animal world. In his work, Crombach juxtaposes domestic objects, human figures, and animals to create visual representations of the complexity of human nature. Having engaged with subjects such as the distinction between man and animal and the concept of our animality, he attempts to explore the contradiction between the notions of shame and innocence. The work creates confusion on several levels and “meaning” is generated in the process of “sorting things out.”
Working in sculpture, Crombach sees his work within a particular sculptural tradition, relying on the history of representation. Braiding tradition with a contemporary facet, the work is conceptually layered, carrying a serious tone that is revealed through hints of humor.
"I am a hopeless romantic with a love of an idealized past – a dreamer, longing for times gone by. I have always been fascinated with machines, gadgets and mechanical devices of the early Industrial Revolution. I am inspired by people like Jules Verne, Heath Robinson, Roland Emmett, and Rube Goldberg.
I grew up on the east coast and now live and work in a former flower shop in Hamilton, Ontario. I’m now an assemblage artist, but have been an interior designer and a heavy construction field engineer in previous careers. I source the raw materials at flea markets, auctions, thrift stores, junk barns, etc. There are more than a thousand boxes and drawers of catalogued artifacts now"