"Memories of clay" was born from a desire to bring together the songs of the three monotheistic religions to find common ground. Memories, in the plural, in order to open up to all cultures that took root in Mesopotamia.
We have chosen to base the different materials, songs, and poems around the earliest surviving written work— the Epic of Gilgamesh— and thus remind what are sharing the representations of the world around the Mediterranean.
Setting out from the prehistoric, popular mythology and religion of Mesopotamia, which represented a strict cultural baggage for the people of the time, just like the father's tools, the mother's song, and the stories of the elders: stepping stones to address and figure the unrepresented.
Setting out from this time in which in and by clay, primordial matter, writing shapes this taming of our limits and our finitenesses, to allow us to project and to unfold within the world our own story.
Much later, writing would become an essential tool and characteristic of the so–called historical religions, contributing to this cultural baggage becoming a religious one. We begin at an earlier time, with a story that one might consider reasonable, in the sense that it offers a response that could provide a centre, a direction, an order for human existence.
Setting out, to better comme back to the present, to revisit it, and to reconsider our supports and our symbolizations.
